![Стоян Джуджев и терминологията на неравноделността](/api/image/getissuecoverimage?id=picture_2004_20623.jpg)
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Along with its primary meaning of describing feelings of deep sorrow, loneliness and melancholy, the blues has acquired a number of additional methaphorical meanings over the twentieth century. Introducing some advanced theoretical concepts concerning the reading of African American culture from eurocentric, afrocentric, and also from non-centric perspectives (including the concept of Signifyin’, developed by Henry Gates, and the concept of Black Atlantic, developed by Paul Gilroy), this article explores a further methodological potential in understanding the blues as a metaphor of more general significance, seen in the role of Modernity’s other.
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The suggestion of introducing a systematic course of folk music in the State Academy of Music belongs to Stoyan Djudjev. Relying on the ideas and scientific production of Dobri Hristov and Vassil Stoin in the field of Bulgarian Music Folkloristic, in 1934 he sent a well-motivated exposition to the Ministry of Education, in which he presented a draft program for the course of education with the relevant research methodology. By a decision of the Academic Council of the State Academy of Music, from 1935 Stoyan Djudjev started having classes in folk music as a separate subject as a lecturer, and from the 1937/193 8 academic year he was appointed a regular teacher. He is the author of the four-volume series “A Theory of Bulgarian Folk Music”, which is the basis of the Textbook of Bulgarian Folk Music for the student of the SAM, published in the 1970s in two volumes. In them he included and systematized basic problems of Bulgarian folklore science in accordance with the contemporary level of scientific thinking. Stoyan Djudjev not only introduced and taught the subject Bulgarian folk music, but through his highly qualified teaching and research activities he managed to raise to appropriate height and to prove the significance and the role of the subject Bulgarian folk music as one of the leading musical and theoretical subjects in the State Academy of Music.
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The paper presents a phase from the experiment of entire reconstruction of traditional culture of a locally isolated community (in the village of Kozichino, the district of Bourgas), the starting point of this reconstruction being the music activities. Here the borderlines between different life periods are revealed as well as the transition from one ritual and social role into another by their dislocation in the course of human life. Attention is drawn to the life cycle not so much as a cycle of rituals, but more to the interval between these rituals -to the time when a person belongs to a definite age group and has a concrete social status. The exposition is limited to the period from one’s birth to one’s wedding and the birth of the first child. The first three periods - infancy, childhood and adolescence are connected with each other and the transitions between them are smooth. Within the childhood itself there are two stages - until the age of 5-6 and until the age of 10. The transition from the youth period into the “group of adults” also takes place in several stages: a period of girlhood /bachelorhood, a period of engagement and a period of newly-weds (which is over approximately-but not immediately - after the birth of the first child). This first half of life is marked by the line: emissary-pupil-devotee. In the course of socialization and consecration two lines are interwoven -acquirement of knowledge (and knowledge is acquired by means of learning something as well as by resisting something) and overcoming hardships (which are differentiated into two types -towards activating or towards resisting certain, including musical, activities). The specifics of the local tradition can show the direct relationship of musical activities with these two basic elements of socialization in traditional culture.
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The aim of the study is two-folded. For one, it is an attempt to oppose - in the light of the cultural relativism and pluralism - to some recent racist and high-brow attitudes among “high” circle, who are eager to govern the Bulgarian culture and fuel a public moral panic in connection with the rising in the 1990s. popular music phenomenon (called chalga, ethnopop or folkpop) which have revived, integrated and updated a variety of different ethnic Balkan music traditions. For two, the study is trying to explain the very producing-meanings process that supposed to enlighten questions of why and in what sense the new “ethnic” music is significant for Bulgarians. The analysis interprets the new “ethnic” music culturally and historically, employing empiric material, collected during the “field work” on the specific “media terrain”, and doing at the same time cultural parallels in time and place beyond Bulgarian culture. Methodo logically, It is based on the “dialogical” approach to music history (Negus 1996), the theory of continuity and change (Netti 1996), and the communication theory suggesting that communication process is not a mere transmission of information but a process which constitutes and creates specific cultural meanings (Craig 1999). Discussing the specific dynamics of the “own-foreign” dichotomy as observed historically in Bulgarian popular music, and introducing another dichotomy seeing the “ethnic” as bringing rather “today’s yesterday” than “today’s tomorrow”, the study outlines projections of two main aesthetic concepts dominating the present manifestations of the “ethnic” music in Bulgaria: of quasi-realism and of rablezian parody. Through analyzing some emblematic artifacts in the field, the discussion is trying to follow and present the logic of the process, reconstructing old meanings into new ones, and to make bearable as well the human call for understanding cultural differences, hidden in the very dialogical nature of music.
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Reviews / "Many Bulgarian artists waiting for their Milena Bozhikova"
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The following questions are posed in the article: could we speak about the cultural identity of the medieval Bulgarian music? If we could, where and how should we look for it? How should we distinguish the Bulgarian music from this one of the other Balkan orthodox countries whose paths of development are closely crossed? How should we define the specific “Bulgarian” in medieval Balkan orthodox music? It is clear that questions like these do not have a simple answer. First, it is necessary to know what is the character of the Orthodox music like, its meaning in the context of the whole Orthodox culture of which it is only a part, and second, it is necessary to know the creative process of the medieval musician, his or her system of values: what he or she believed in and what he or she strived at. The question about the cultural identity of the Bulgarian church music is a complex question which suggests a thorough study of musical sources: the peculiarity of the palaeography, the selection and preference of musical repertory included, the musical language of the pieces, and the author’s predilections. The study of all of this will allow us to reveal the specific features of a given source, scriptorium, author, region and even of a separate country.
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This material is an attempt to ask topical questions, related to the musical cultural dialogue between the peoples at the end of the XX c. and the start of the XXI c. and to the geographically expanding parameters of the influence of cultural identity through the sphere of music. On the basis of concrete material (the work of the Japanese composer U Ya Honda and the Balkan musical tradition) the possibility for universalizing a certain tradition is examined in a period of globally changing cultural space. Today more than ever it is important to ask ourselves to what extent the cultural identity is immanent and unique or just the opposite - it can become an artistic impulse for a creator, who even without possessing the gene code of this identity, accepts and multiplies successfully its universal message in a new environment.
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In historical perspective the first version of modem Bulgarian cultural identity determines Bulgarian individualism as “the only universalistic indoctrination” in defence of the individuality of Bulgarian culture; the individualism of Pencho Slaveykov became the symbol of a phenomenon in Bulgarian culture; the synthesis of the “spiritual tradition in life’’, “the conscious synthesis of the independent, rationally-accepting the world, creative personality”, changes the cultural realities of the “national” and the “foreign”, of the “native” and the “European”. The image, combining “the person in the Bulgarian”, created by Pencho Slaveykov, lays the new universal humanistic principle in the identification of the Bulgarian and shows the potential of the cultural-construction pathos, which turns a look at European art and attracts it as building material for the universal. “The Europe-ism” of Pancho Vladigerov can be accepted as a remote reflection of the “imaginary spaces of the spiritual”, but he is much more an individual strategy for “drawing closer to” European music, which is Music, a principle of self-construction and, last but not least, an expression of a modern aesthetic and artistic universalism. And in the context of the 1920s, one of the many, but still not articulated manifestations of the “European” as an aspect of modern Bulgarian cultural identity.In historical perspective the first version of modem Bulgarian cultural identity determines Bulgarian individualism as “the only universalistic indoctrination” in defence of the individuality of Bulgarian culture; the individualism of Pencho Slaveykov became the symbol of a phenomenon in Bulgarian culture; the synthesis of the “spiritual tradition in life’’, “the conscious synthesis of the independent, rationally-accepting the world, creative personality”, changes the cultural realities of the “national” and the “foreign”, of the “native” and the “European”. The image, combining “the person in the Bulgarian”, created by Pencho Slaveykov, lays the new universal humanistic principle in the identification of the Bulgarian and shows the potential of the cultural-construction pathos, which turns a look at European art and attracts it as building material for the universal. “The Europe-ism” of Pancho Vladigerov can be accepted as a remote reflection of the “imaginary spaces of the spiritual”, but he is much more an individual strategy for “drawing closer to” European music, which is Music, a principle of self-construction and, last but not least, an expression of a modern aesthetic and artistic universalism. And in the context of the 1920s, one of the many, but still not articulated manifestations of the “European” as an aspect of modern Bulgarian cultural identity.
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