Academic Forum “Integral Music Theory”
Academic Forum “Integral Music Theory”
Publishing House: Издателство НМА „Проф. Панчо Владигеров”
Subject(s): Philosophy, Social Sciences, Education, Fine Arts / Performing Arts, Music, Semiology, Theology and Religion, Religion and science
Frequency: 1 issues
Print ISSN: 2683-0841
Online-ISSN: 2683-085X
Status: Active
- 2020
- 2021
- 2022
- 2023
- 2024
- Issue No. 1/7
- Issue No. 1/8
- Issue No. 1/9
- Issue No. 1/10
- Issue No. 1/11
- Year: 2024
- Volume: 11
- Number: 1
Academic forum Integral Musical Theory 11/2024 is a collection of articles from a musicological and pedagogical round table.
Articles list
Творчески ракурси към интертекстуалността в композицията In memoriam – 120 години Панчо Владигеров (2019) от Пенчо Стоянов
Творчески ракурси към интертекстуалността в композицията In memoriam – 120 години Панчо Владигеров (2019) от Пенчо Стоянов
(Creative Perspectives on Intertextuality in the Composition In Memoriam – 120 Years Pancho Vladigerov (2019) by Pencho Stoyanov)
- Publication: (1/11/2024)
- Author(s): Snezhina Vrangova-Petkova
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 11-41
- No. of Pages: 31
- Keywords: musical collage; creative borrowing; quotаtion; cultural continuity; intonational dramaturgy; analysis methodology
- Summary/Abstract: This article is devoted to the problem of the realization of musical-cultural continuity through the art form and its intonational dramaturgy. The main object on which the creative mechanisms of the absorption of traditions through a new creative elaboration are studied is the symphonic work by Pencho Stoyanov In memoriam – 120 years Pancho Vladigerov (2019). The thematic dramaturgy of the work is constructed from motives and themes that are significant for Vladigerov’s artistic activity, such as Bulgarian Suite Op. 21 (Song), Jewish Poem Op. 47, Improvisation Op. 36, Concerto for Piano and Orchestra No. 3 Op. 31, Symphony No. 1 Op. 33, Toccata Op. 36, Autumn Elegy Op. 15 and Bulgarian Rhapsody “Vardar” Op. 16. Despite the quotation-collage-like approach, the form is intonationally unified on the basis of the selection of the material and the creation within it of an author’s sustaining layer, which forms of presence in the composition range from horizontal and vertical syntheses with the quoted material to self-quotation (Sonata for Violin and Piano No. 3). The work, poem-like in its dramaturgy and structure, represents a form of actualization of the tradition through the prism of the author’s own style, whose achievements it generalizes in many respects, asserting its own aesthetic independence.
Структурно-процесуални особености на „музикалната фреска“ в Синфония литургика – седем фрески за симфоничен оркестър от Ясен Воденичаров
Структурно-процесуални особености на „музикалната фреска“ в Синфония литургика – седем фрески за симфоничен оркестър от Ясен Воденичаров
(Structural And Processual Peculiarities of the “Musical Fresco” in Sinfonia Liturgica – Seven Frescoes for Symphonic Orchestra by Yassen Vodenitcharov)
- Publication: (1/11/2024)
- Author(s): Petar Dimov
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 42-72
- No. of Pages: 31
- Keywords: symphonic composition; musical fresco; contemporary techniques; sonoristic material; formal structure; musical process
- Summary/Abstract: This article aims to highlight some tendencies of Yassen Vodenitcharov’s mature creative searches through an analytical approach to a work which is representative for his current compositional style. As a starting point, the technical characteristics of the sonoristic material used to regulate the musical narrative are examined. A graphic representation of the structure of each movement, followed by a detailed tracing of the processual aspect of the musical form, is used to reveal the internal compositional logic of each fresco along with its role in the wider context of the entire cycle. The collected analytical material comes to reveal how various aspects of older systems of organization are incorporated into а contemporary context.
Лунна светлина от Албена Петрович Врачанска в чест на Бетовен. Интроспекции и рефлексии по повод 250-годишнината на титана
Лунна светлина от Албена Петрович Врачанска в чест на Бетовен. Интроспекции и рефлексии по повод 250-годишнината на титана
(Moonlight by Albena Petrovic Vratchanska in honour of Beethoven. Introspections and reflections on the occasion of the titan’s 250th anniversary)
- Publication: (1/11/2024)
- Author(s): Iliya Gramatikov
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 73-90
- No. of Pages: 18
- Keywords: contemporary piano music; extended piano techniques; individual piano style; musical cryptography; Beethoven’s reception
- Summary/Abstract: The article presents the piano piece Moonlight by Bulgarian-Luxembourgish composer Albena Petrovic Vratchanska. The work was commissioned in connection with the international project 250 Piano Pieces for Beethoven – an event conceived as a grandiose artistic initiative on the occasion of the 250th anniversary of Beethoven’s birth that eventually evolved into an extensive compendium of piano works from the beginning of the 21th century. A cornerstone in the analysis of the piece is the clarification of the musical cryptographic procedures applied by the composer in bringing out the thematic material. Specific compositional approaches and decisions are also discussed in relation to the allegorical interpretation of the meaning embedded in the work. The extended piano techniques applied and the peculiarities of Vratchanska’s individual piano style are commented upon. The composer’s creative choices as well as the festive occasion for which the piano piece was composed are considered in the context of the history of Beethoven’s reception.
Соната за цигулка и пиано (1945) от Константин Илиев в пресечната точка на академичната традиция и формиращия се индивидуален стил – от празника в творчеството към творчеството като празник
Соната за цигулка и пиано (1945) от Константин Илиев в пресечната точка на академичната традиция и формиращия се индивидуален стил – от празника в творчеството към творчеството като празник
(Sonata For Violin And Piano (1945) by Konstantin Iliev at the Crossing Point of the Academic Tradition and the Emerging Individual Style – from Celebration in Creativity to Creativity as Celebration)
- Publication: (1/11/2024)
- Author(s): Michaela Koleva
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 91-112
- No. of Pages: 22
- Keywords: sonata; musical form; contrast; mixolydian; layers; dialogue; phonism
- Summary/Abstract: This article examines Konstantin Iliev’s earlier approach to the genre of the duo sonata in his Sonata for Violin and Piano in B flat major. The work was written during his studies at the State Academy of Music and is built on the classical foundations of the genre established by the national (the violin and piano sonatas of Lyubomir Pipkov, Pancho Vladigerov, Dimitar Nenov and Parashkev Hadjiev) and European (the sonatas of Beethoven, Brahms, Grieg and Franck) ideal examples to which the young Iliev was directed by his teachers, Prof. Parashkev Hadjiev and Prof. Pancho Vladigerov. In this regard, there is a proposed generalized example of the form of the genre and the genre itself, which are accepted as a basis for recreation. Besides the stylistic influences of the authorities mentioned above, the sonata is also marked by the aesthetic “demands” of its time, which means the application of the national folklore melodic basis along with the predominance of the major modes and the mixolydian modal colouring, which aims to suggest an optimistic image or spirit on the foundation of genres related to dance. Subsequently, these characteristic features prove to be completely extraneous when it comes to Konstantin Iliev’s mature manner of composition. Nevertheless, the birth of the sonata proved to be a decisive moment in the composer’s path - as well as being a significant starting point that provides direction for the formation of one of the most sophisticated and intriguing compositional styles, which proved to be that of Konstantin Iliev in twentieth-century Bulgarian music, it is also an artistic justification for perceiving the musical work of art as a celebration of the creative spirit itself.
Статията Теория и приложение на четвърттонната музика и пътят към дванайсеттоновостта при Константин Илиев
Статията Теория и приложение на четвърттонната музика и пътят към дванайсеттоновостта при Константин Илиев
(The article Theory and Application of the quarter-tone music and Konstantin Iliev’s path towards the twelve-tone technique)
- Publication: (1/11/2024)
- Author(s): Angelina Petrova
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 113-127
- No. of Pages: 15
- Keywords: twelve-tone and quarter-tone composition; Alois Hába; Konstantin Iliev; ideological canon of socialist realism; microtonality
- Summary/Abstract: In 1949 Konstantin Iliev wrote the article “Theory and Practice of the Quarter-tone Music”, which remains unpublished. He wrote on the text that the article was returned to him by Pipkov and kept the manuscript in his archive. The background of this short theoretical text by Konstantin Iliev is connected with his studies under Alois Hába, a prominent representative of the pre-war musical modernism. In the radically different context of the imposition of the ideological canon of socialist realism in Eastern Europe, a distinctive analogue of the post-war New Music based on the twelve-tone technique emerged. Alois Hába is a bridge that connects Konstantin Iliev to the knowledge and poetics of modernism in the first half of the 20th century. Konstantin Iliev accepts the radicalization of the views on dissonance undertaken by Hába. If Schoenberg speaks of a principle of distance and destructs the tonal significance of the consonance/dissonance relation, Hába argues that the perception of consonance and dissonance is the result of the will of the composer. After 1949 Konstantin Iliev pursued the path of discovering his own twelve-tone composition and that of the aesthetic protest. The ideas of his twelve-tone writing differed from the serialism and modernism of the second half of the 20th century, which was a reflection of his time studying with Alois Hába.
Оратория Пролетни празници от Константин Илиев (кратки бележки по дипломна работа от 1983 г.)
Оратория Пролетни празници от Константин Илиев (кратки бележки по дипломна работа от 1983 г.)
(Oratorio Spring Festivities by Konstantin Iliev (Brief Notes on a 1983 Thesis))
- Publication: (1/11/2024)
- Author(s): Andrey Andreev
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 128-138
- No. of Pages: 11
- Keywords: oratorio; Veselin Baichev; Christmas; Lazarki; authentic folklore; prosody; choir “Rodina”; St. George's Day; Kipriana Belivanova
- Summary/Abstract: This publication is dedicated to the oratorio Spring Festivities by Konstantin Iliev. A brief summary of the performances and performers, as well as conclusions on the main chapters of Andrei Avramov Andreev’s 1983 thesis are presented, namely: literary and stylistic treatment of the folklore texts, musical language close to the folklore, special features of the instrumental ensemble, the formal structure, pictorial spheres in the oratorio and their interaction, the place of the work in the creative development of the composer as an ultimate point in his approach to the folklore as a main building material, and its interaction with modern compositional techniques.
Киприана Беливанова и Константин Илиев – „Човек или го пише, или не го пише“. Разговор, дешифриран от фонограма и предоставен от Андрей А. Андреев
Киприана Беливанова и Константин Илиев – „Човек или го пише, или не го пише“. Разговор, дешифриран от фонограма и предоставен от Андрей А. Андреев
(Kipriana Belivanova and Konstantin Iliev – “One Either Writes it or Doesn’t Write It”. Conversation, Deciphered from a Phonogram and Provided by Andrey A. Andreev`)
- Publication: (1/11/2024)
- Author(s): Kipriana Belivanova, Konstantin Iliev
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Music
- Issue: 1/11/2024
- Page Range: 139-150
- No. of Pages: 12
- Keywords: Bulgarian compositional work of the 20th century; modal composition; controlled aleatoric; quasi-folklore; Li in memoriam; Fragments; Tempi concertati
- Summary/Abstract: The following conversation from 21.01.1983 between the music historian, publicist and pedagogue Kipriana Belivanova (1942 – 2001) and the great Bulgarian composer and conductor Konstantin Iliev (1924 – 1988) is published post mortem of both artists as a tribute to the contribution of each of them to the development of the Bulgarian musical culture of the 20th century and the scientific thought about it. The decipherment of the conversation recorded on a cassette tape is done by Andrey Andreev – the author of the thesis on the oratorio Spring Festivities by Konstantin Iliev written at the same time under the tutorship of Kipriana Belivanova. In the editorial process, the spontaneity and freedom of expression in the dialogical form have been preserved, through which an exceptional level of professional communication shines through. In the conversation, the problems of periodization of Konstantin Iliev’s creative work depending on the technique used and the attitude towards folklore are commented. Three types of thinking are highlighted, emblematized in: 1) Fragments (1968 – the musical idea as timbre expressed through the means of controlled aleatoric); 2) Concerto for Violin and Orchestra (1971) and Tempi concertati I – V (1968, 1975, 1977, 1980, 1981 – a selection of specific timbres and noises, timbral combinations forming a “colourful graph”); and 3) Li in memoriam (1981/1982), where the timbral origin and the principle of non-repetition of tones (replacing the dodecaphonic technique) are joined by a modal shaping of the material, based on working with modes of varying number of tones, on the foundation of which the whole composition is built. The connection of all the above mentioned ways of organization of the music material with the Bulgarian intonation, as understood by Konstantin Iliev as a quasi-folklore created by the composer (the oratorio Spring Festivities (1975)) is brought out.
„Лайтмотивът“ на празника в учебното съдържание по музика в сферата на общото образование
„Лайтмотивът“ на празника в учебното съдържание по музика в сферата на общото образование
(The “Leitmotif” of the Festivity in the Curriculum of Music in the Field of General Education)
- Publication: (1/11/2024)
- Author(s): Penka Marcheva
- Contributor(s):
- Language: Bulgarian
- Subject(s): Education, Fine Arts / Performing Arts, Music, School education, Pedagogy
- Issue: 1/11/2024
- Page Range: 151-172
- No. of Pages: 22
- Keywords: festivity in the music; music curriculum; general education field
- Summary/Abstract: The understanding of the leitmotif as a sound core with a characteristic content and structuring role for a specific piece of music is a metaphor that outlines the content parameters of this paper. “Metaphoricity” is embodied in the idea of festivity and celebration as a musical-semantic entity present in the music curriculum in Bulgarian schools. In the theoretical part of the paper, an analysis of the curricula is made in the light of the examined issues. Areas of competence, themes, as well as the knowledge, skills and attitudes that are tied to festivity and celebration as a semantic centre are presented. In the practical part of the publication some methodological features of music-pedagogical activity are examined in the light of the considered “leitmotif”.
Празнични аспекти в репертоара на училищния хор
Празнични аспекти в репертоара на училищния хор
(Celebratory Aspects in the School Choir Repertoire)
- Publication: (1/11/2024)
- Author(s): Alexander Mitev
- Contributor(s):
- Language: Bulgarian
- Subject(s): Education, Fine Arts / Performing Arts, Music, School education
- Issue: 1/11/2024
- Page Range: 173-187
- No. of Pages: 15
- Keywords: festive aspects; celebratory aspects; repertoire; school choir
- Summary/Abstract: This article examines the celebratory aspects in the school choir repertoire. The main focus is on the festivities and their celebration in the Bulgarian school as well as their classification. A detailed description of the role of the festivities in the work of the school choir and its repertoire is presented, outlining problem areas of an organizational and methodological nature. Some highlights of the conductor’s work in selecting the repertoire of the school choir are presented. Taken from the author’s conducting practice, the system of the author and a sample plan map for the organization of the repertoire are proposed. Conclusions are drawn about the celebratory aspects in the school choir repertoire based on the sample plan map.
Приложението на музиката като сензорно-указателна система в музикотерапевтичната работа с пациенти с неврологични увреждания
Приложението на музиката като сензорно-указателна система в музикотерапевтичната работа с пациенти с неврологични увреждания
(The Application of Music as a Sensory-Indicative System in Music Therapy with Patients, Suffering from Neurological Disorders)
- Publication: (1/11/2024)
- Author(s): Natalia Hristova-Krachanova
- Contributor(s):
- Language: Bulgarian
- Subject(s): Education, Fine Arts / Performing Arts, Music, Inclusive Education / Inclusion
- Issue: 1/11/2024
- Page Range: 188-207
- No. of Pages: 20
- Keywords: music therapy; neurological disorders; music therapy guide; musical language; musical form
- Summary/Abstract: his article presents a music guide created specifically for the purposes of music therapy. It contains musical pieces that have been composed according to specific therapeutic goals. In order to reach a greater efficiency in therapy, the music should be created with a particular therapeutic goal in mind, as well as the resulting practical exercises that are closely related to their respective conditions and tasks. It is therefore necessary that the musical pieces contain specific elements of musical expression that serve as clear and easily recognizable instructions for the patient.This article presents a music guide created specifically for the purposes of music therapy. It contains musical pieces that have been composed according to specific therapeutic goals. In order to reach a greater efficiency in therapy, the music should be created with a particular therapeutic goal in mind, as well as the resulting practical exercises that are closely related to their respective conditions and tasks. It is therefore necessary that the musical pieces contain specific elements of musical expression that serve as clear and easily recognizable instructions for the patient.
Празникът като духовно-музикално събитие при българите католици от двата обряда (с посвещение на Петър Динев по повод 135 години от рождението му)
Празникът като духовно-музикално събитие при българите католици от двата обряда (с посвещение на Петър Динев по повод 135 години от рождението му)
(The Festivity as a Spiritual-Musical Event Among Bulgarian Catholics of Both Rites (With a Dedication to Peter Dinev on the Occasion of the 135th Anniversary of His Birth))
- Publication: (1/11/2024)
- Author(s): Maya Raykova-Hildegard
- Contributor(s):
- Language: Bulgarian
- Subject(s): Christian Theology and Religion, Fine Arts / Performing Arts, Music, Theology and Religion, Other Christian Denominations
- Issue: 1/11/2024
- Page Range: 208-227
- No. of Pages: 20
- Keywords: church songs; Banat; Holy Liturgy
- Summary/Abstract: The Holy Liturgy is the expression of religious celebration within the Church. With regard to it, this article provides concise notes on the liturgical order used by Western and Eastern Catholics – specifically, the Roman rite for Western Catholics and the Byzantine rite for Eastern Catholics. It also discusses the types of celebrations in the history of the Church as to outline, though briefly, the origins of the modern peculiarities of the music that accompanies the two rituals.The Bulgarian Catholics have a distinctive culture and partly, aspects of everyday life that set them apart from their Eastern Orthodox countrymen. What is more, each Catholic community has unique ethno-cultural characteristics that have been shaped by the community’s interactions with West European Catholicism as well as it creation and development within the borders of Bulgaria.At the end of this article, on the occasion of the 135th anniversary of his birth, I have examined the theoretical and musical works of Petar Dinev, the great Bulgarian musicologist and theorist of Eastern Church music.
Празничното музикално произведение и неговият топос
Празничното музикално произведение и неговият топос
(The Festive Musical Artwork and its Topos)
- Publication: (1/11/2024)
- Author(s): Harry Rangelov
- Contributor(s):
- Language: Bulgarian
- Subject(s): Philosophy, Fine Arts / Performing Arts, Music, Aesthetics
- Issue: 1/11/2024
- Page Range: 228-247
- No. of Pages: 20
- Keywords: topos; occasion; festivity; festive musical artwork; concert-festive musical artwork
- Summary/Abstract: This paper highlights the musicological (and practical) problem of the essential difference between a festive musical artwork and a concert-festive musical artwork. The former has a festive occasion and a topos (understood as a particular place and time defined by the meaning of a particular festival) where I am bodily present, while the latter has no festive occasion and its topos is the concert hall where I am bodily “absent”. As a performer, listener and involved in the concert musical artwork as a whole, I find myself left without a particular bodily situatedness which, in turn, is an indispensable aspect of the event-festival and in this sense guarantees it. This means that in the concert-festive musical artwork the body has to be situated in a music that is outside the festive topos which cannot be achieved. The consequence is that the festive musical meaning is altered and no longer determined by the particular festival but by something else. Accordingly, the way in which the musical meaning itself is bodily perceived needs to be reconsidered. To highlight the problem, the paper examines Dimitar Nenov's Christmas by means of phenomenological analysis and describes how this artwork is initially devoid of festivity, occasion and topos: it is composed outside the lifeworld of the particular festive topos. As a counterbalance to Nenov's oratorio is Johann Sebastian Bach's Weihnachtsoratorium, an example of an artwork with a concrete festival, occasion and topos, where the musician is bodily present in a concrete, particular and definite way, namely, in a festive and eventful way. Here the festive musical sense is preserved (provided by a lived, festive world with a specific time and place). The implication of the analysis is that to such a concert-festive music must be found another “festival”, another occasion and another toposic corporeality from which one could sense it as whole.
Ракурс към съвременните форми на публичност – създаване на музикално събитие чрез средствата за поточно възпроизвеждане
Ракурс към съвременните форми на публичност – създаване на музикално събитие чрез средствата за поточно възпроизвеждане
(An Approach to the Contemporary Forms of Publicity – Creating a Musical Event Through the Мeans of Streaming)
- Publication: (1/11/2024)
- Author(s): Petar Kostov
- Contributor(s):
- Language: Bulgarian
- Subject(s): Fine Arts / Performing Arts, Media studies, Music, Communication studies
- Issue: 1/11/2024
- Page Range: 248-277
- No. of Pages: 30
- Keywords: music; concert tradition; streaming; media; technology
- Summary/Abstract: Contemporary listening culture is being shaped increasingly through the various means of media representation and less and less through the traditional festiveness woven into the public manifestations of the various art forms. Although this is not exactly a new problem for the art of music, a facet of the contemporary forms of distribution that is rarely associated with the event and the festivity will be presented. First, the implications of the 20th century commercial model on the contemporary publicity and what in it could be useful for the elaboration of an event will be examined. The current state of contact of the streaming service with its listener (user) will be presented and what in this contact makes the latter more of a listener and what – more of a customer. It is based on the position that the realization in all forms of musical art needs publicity rather than targeted advertising, an emphasis on content rather than malicious lavishness.
Short Description
The Academic Forum "Integral Music Theory" journal is the successor of the journal called Академичен форум “Интегрална теория на музиката”, 2014 – 2019 (Academic Forum "Integral Music Theory", ISSN: 2367-5985. After the 2020 and 2021 editions (annual journals), which were published only in English, the 2022 issue introduces a trilingual format option – in Bulgarian, English and Russian languages.
Since 2022 Academic Forum "Integral Music Theory" is a collection of articles from a conference, representing original and previously non-published studies, focused on issues of music theory and music education. Its purpose is to present music-theoretical research that has significant applications in the analysis of music, the history of music theory and their dynamics in different styles and historical eras, including modernity. That encompasses issues in the broader domain of music knowledge – musical analysis, methodological problems of teaching music theory disciplines, the multilateral aspects of music such as creativity, style, genre, form-generation, perception, technologies, interactions with other arts.
The issues concerned in the papers are in line with the thematic direction of the conference, which, from 2022 (100 Years of the National Academy of Music), is different for each subsequent edition.
Editorial board
Prof. Snezhina Vrangova, PhD – Editor-in-Chief;
Prof. Angelina Petrov
PhD; Prof. Andrey Diamandiev, PhD
Prof. Nikolay Gradev, PhD
Ch. Asst. Nadezhda Todorova, PhD
