Жанрови проблеми на баладата-легенда

Author(s): Ildiko Kriza / Language(s): Bulgarian Issue: 2/1979

The works, called by the complex term ballad-legends, can be assigned to the genre of the ballad only in the broad sense of that word. In contrast to the classical ballad there is no conflict in them. The description of action or feeling brings them closer to epic songs and romances. The ballad-legends show genre kinship with the mediaeval literary genre of the legend. Ballad-legends are epic-lyrical works depicting supernatural religious action or a chain of events, and narrating the life and qualities of saints and biblical personages in a versified form. A mediaeval world outlook and the expression of the church's positions unite them. In a stylistic respect they are characterized by narration (announcement of an event) and their lyrical quality. The conflict is only fictitious, conventional and abstract. Descriptions of miracles add certain epic characteristics to the ballad-legends (the Hungarian ballad or The Flight into Egypt, which has international parallels, and is a real treasure-house of etiological sagas, is an example of this). The lyrical quality in the ballad-legends is very often sentimental, hence the closeness of this genre to the idyll. Sentimentality is combined with didacticism and moralizing. The artistic form of the ballad-legends bears traces of literary influences, and was built up not only along the inner rules of folklore creative work.

KOKIŲ ĮSTATYMŲ IR KITŲ TEISĖS AKTŲ ATITIKTĮ KONSTITUCIJAI TIRIA KONSTITUCINIS TEISMAS?

Author(s): Vytautas Sinkevičius / Language(s): Lithuanian Issue: 3/2014

Article 102 of the Constitution provides that the Constitutional Court has the powers to decide whether the laws and other acts of the Seimas are not in conflict with the Constitution and whether the acts of the President of the Republic and the Government are not in conflict with the Constitution or laws. This list of legal acts is neither exhaustive nor final. The Constitutional Court has held that, under the Constitution, it has the powers to decide whether: 1) laws are not in conflict with the Constitution and constitutional laws; 2) resolutions and other sub-statutory acts adopted by the Seimas are not in conflict with the Constitution, constitutional laws, laws, and the Statute of the Seimas; 3) the Statute of the Seimas is not in conflict with the Constitution and constitutional laws; 4) resolutions and other acts of the Government are not in conflict with the Constitution, constitutional laws, and laws; 5) decrees of the President of the Republic and other acts of the President of the Republic are not in conflict with the Constitution, constitutional laws, and laws. The Constitutional Court also enjoys the powers to decide whether laws adopted by a national referendum regarding alteration of the Constitution are not in conflict with the Constitution. The Constitutional Court investigates the compliance of not only valid laws with the Constitution, but also that of no longer valid (nullified) laws and other legal acts with the Constitution, as well as the compliance of laws and other legal acts, which were adopted by the Seimas and were officially published, with the Constitution regardless of the established date of the beginning of the application of such laws and other legal acts. The Constitutional Court has the powers to investigate whether any law or other legal act adopted by the Seimas, also whether any act of the President of the Republic or any other act of the Government is not in conflict with the Constitution irrespective of whether a respective legal act is (or could be) marked top secret, secret, or confidential, or bears any other marking.

Традиционни обичаи под сценична маска

Author(s): Radka Bratanova / Language(s): Bulgarian Issue: 3/1999

Лозанка Пейчева. Душата Плаче – песен излиза (Ромските музиканти и тяхната музика). С., 1999, 280 с.

Author(s): Nataliya Rashkova / Language(s): Bulgarian Issue: 3/1999

Гьдулкови нестинарски мелодии

Author(s): Ruzha Neykova / Language(s): Bulgarian Issue: 3/1999

The panagir of St. Constantine and Helen was performed together by two neighbouring villages in the region of Strandzha mountains in the past – Bulgari/Urgari and Greeklingual Kosti. Panagir/nestinar melodies were performed by bagpipes and by two-headed skin drums. There exists a clear evidence that the musicians from the village of Kosti played the same melodies also by lyra (Bulg. gadulka). According to the Greek anastenari: “…after the emigration from Strandzha it was more and more difficult to find a bagpipe player. That’s why the lyra took the place of the bagpipe”. At present in the panagir of St. Constantine and Helen in Northern Greece, only a few anastenari’s melodies – “On the Road”, “Young Constantine”, “Hope dance, led by the epitrop”, melodies whose performance is not so strongly tied to a definite place and time of the ritual as nestinar melodies performed in the village of Urgari – are played by two lyres in the village of Agia Eleni) or by two bagpipes (in Langada) and by a drum/drums. Although the Greek lyraplayers are treating quite freely the basic musical material (consisting of a sequence of short musical motives – of similar structure and intonation) the musical line sounds stylistically homogeneously as a whole. Most importantly – the difference in musical sounding and ethos of the Northern Greece and Southeast Bulgarian panagirs is, to my opinion, due to the substitution of instruments. This has influenced the melodic style and nature of the Greek playings, as far as the ritual’s line of continuity and adoption by the local people uninformed about the past of the anastenari tradition, is concerned. The Greek anastenari playings are vital evidence for the recreation of the inherited musical and ritual memory in the context of a different time and space, and as a different instrumental ethos and style.

Тодор Джиджев. Българската коледна песен в теоретичен и сравнителен план. Академично издателство „Проф. Марин Дринов”. С., 1998, 184 с.

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 3/1999

Народни песни за Апостола на свободата Васил Левски от Македония

Author(s): Iliya Manolov / Language(s): Bulgarian Issue: 3/1999

Дейността и поведението на свирача през noглeдa на неговата аудитория

Author(s): Galin Georgiev / Language(s): Bulgarian Issue: 3/1999

Иван Шишманов и проучването на българския музикален фолклор

Author(s): Nataliya Rashkova / Language(s): Bulgarian Issue: 3/1999

In memoriam [Мариела Христова]

Author(s): Nikolay Kaufman / Language(s): Bulgarian Issue: 3/1999

Пространствени кодове в структурата на многогласието

Author(s): Dimitrina Kaufman / Language(s): Bulgarian Issue: 3/1999

The author presents her detailed analysis of the folk taxonomy denoting voice movements in polyphonic singing. She advocates that the taxonomy under consideration introduces spatial and bodily codes. In addition she argues that they are to be understood as functionally predetermined, as well as reliant on ornamentation behavior and on the involvement of the components in polyphonic singing with one another. Thus the terms express and decode movements of musical “collective body” as a whole built out of functionally differing elements. Comparing collective monodic and polyphonic singing, the article raises the hypothesis of their similarity as based on spatial ritual technology. Archaic techniques found in polyphonic singing are reported to be initial points in decoding the principles of both monodic and polyphonic singing. The author also manages to differentiate the following movements in the polyphonic structure: meandering, circling, spiral movements. All that safely brings her to the conclusion that musical components, and especially sound height, contain archaic ideas coming from rituals and myth. Monodia and collective dances bare lively traces from the simplest, clearest and oldest mythological ideas.

Димитрина Кауфман. Мистерията на българското многогласие. Пловдив, 1998

Author(s): Anna Ilieva / Language(s): Bulgarian Issue: 3/1999

Фолклорни версии на грехопадението в българските седенкарски песни

Author(s): Bozhanka Ganeva / Language(s): Bulgarian Issue: 3/1999

„Сладката музика” (Български музиканти за понятието макам)

Author(s): Lozanka Peycheva,Ventsislav Dimov / Language(s): Bulgarian Issue: 3/1999

The article investigates similarities and differences in various understandings of the term makam. Its uses and explanations attributed to folk singers and music players, authors and performers of ethnopop songs, as well as of Roma musicians are advocated to differ substantially from the high culture ones and are assumed to be endowed with meanings relevant to melody and interpretation rather than to being informed by structural peculiarities of makams. Thus folk singers and musicians use the word makam to mark specific mode organization, as well as a particular way of performing, while ethnopop singers tend to claim that it reveals Balkan or Oriental features together with a definite style and manner of interpretation, and Roma musicians understand makam as meaning “sweet music”, quality of performing capable of expressing the deepest feelings of the performer in sounds. Thus, the grassroot professional discourse about makam is affirmed to be characterized by only a background notion of makam’s structural peculiarities and as putting the accent on its comprehension as a characteristic feature of the musician and his audience and of their deepest perceptions and feelings.

Български воински песни

Author(s): Nikolay Kaufman / Language(s): Bulgarian Issue: 3/1999

Bulgarian military songs started to appear in the 19th c., in the period of National Liberation. Bulgarian volunteers, preparing themselves in Kishineu to serve on Russian military service during the Russian-Turkish war, still in 1877 sung “Shumi Maritza” and other soldat songs, and continued to sing them during the war itself. Precisely at those times the marching step and the marching songs accompanying it, were used for the first time by the Bulgarians. All that resulted in the early Bulgarian songs being marching ones. At the very beginning Bulgarian military troops used to sing well known folk songs (mainly folk dance ones) in a marching rhythm. Gradually there appeared true marching songs, whose texts were written mostly by military officers. Their melodies were more often than not plagiarized from urban song ones, and only exceptionally created by musicians on military service. Among the latter there should specially be mentioned Alexandar Morfov, whose military songs written in the beginning of 20th c. (Niy shte pobedim, Izgrey zora na svobodata, etc.) are already real marches sung even today by the Bulgarian military troops as both their texts and their sounds are tightly connected with the soldiers’ activities and with the army life. Bulgarian poets and composers joined later their efforts in creating military marches. Especially during the war periods (1912-1913 and 1914-1918) they wrote masterpieces like Velik e nashiat voinik, Bdintzi, Bulairski marsh which are still in use in the army. There were created military songs and marches in the next decades, too. Especially productive was the second half of the 20th c. with its marches written in broader forms, sophisticated musical facture (or at least such in comparison with the older marches), but they did not gain the acknowledgement and the popularity of the older ones created in the first decades of the 20th c.

Ситната игра – от сакрална към стилова характеристика

Author(s): Anna Shtarbanova / Language(s): Bulgarian Issue: 3/1999

The article is an attempt to experiment with yet another and very unusual point of view to the style of folk dancing. It focuses itself on a single dance and characterizes its structure, movements and presentation, but also its semantic aspects. The links between the ritual and the nonritual dances are obvious and could easily be discovered on structural level within the dances coming from a particular region. Thus there would naturally follow a question in regards to the nature of the mentioned above links and especially if they are or they are not resulting from the use of a common dancing motif stock or are also the result of some semantic interrelations. Until recently traditional Bulgarian music and dancing styles were predominantly investigated on the level of their regional variants reporting differences in outlook. An attempt has been undertaken here to gain an inward oriented description of the processes of regional style creation, as well as to explain it as reliant on the basic mechanisms of interdependence between ritual and dance. Thus, a special model of style investigation is offered. It allows for the adequate description and analysis of sitnata po stareshki, a dance which is to be considered not only the most widely spread one in Northeastern Bulgaria, but which is advocated to be representative for the whole of the region under consideration. Following the semantics of staro (old) and sitno (tiny, fine, elaborate), there are offered the following conclusions: I) Basic style characteristics are formed due to emancipation of the elements from their ritual contexts and meanings. Due to overpassing the boundaries of their ritual predetermination and meanings, the elements turned to be a stylistic mark, rather than being directly connected to their original content in the ritual context of the classical traditional culture. Thus, they are no longer sacred. 2) Nevertheless, their new standing is still deeply rooted in their former sacral meanings and function and. Thus, it is especially the latter which predetermines their high, ideal status in the new aesthetic conception, taking into consideration their old ritual importance and significance.

In memoriam [Тодор В. Тодоров]

Author(s): Todor Iv. Zhivkov / Language(s): Bulgarian Issue: 3/1999

За песните и танците на Васильовден в Софийско (По материали от Горни Богров, Желява, Сеславци и Враждебна)

Author(s): Evgeniya Grancharova / Language(s): Bulgarian Issue: 3/1999