Bulgarian-Macedonian Folk Music

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BULGARIAN-MACEDONIAN

FOLK MUSIC

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KREMENLIEV

UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES

1952

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY AND LOS ANGELES, CALIFORNIA

CAMBRIDGE UNIVERSITY PRESS LONDON, ENGLAND COPYRIGHT, 1952, BY

THE REGENTS OF THE UNIVERSITY OF CALIFORNIA PRINTED IN THE UNITED STATES OF AMERICA DESIGNED BY JOHN

B.

GOETZ

FOR

GREGOR AND ELENA, WHO

INTERFERED, BUT NOT TOO

MUCH

PREFA CE

PREFACE is, in a much more real sense, a conclusion; like the overture music drama, it is written after the work has been completed, and properly contains a clue to the material which follows. I feel that in the present study some preparation of the reader is essential, since there have been very few works on the subject written in languages other than Bulgarian and, to my knowledge, none in in

The responsibility of being the first to acquaint the reader of English with Bulgarian folk music is a heavy one, especially since the non-Bulgarian sources have in part proved to be based on misconceptions of the fundamental characteristics of the folk music under examination. Thus, for instance, Dr. Peter Panoff, in his otherwise scholarly study, "Die Alt-

English.

slavische Volks-

und Kirchenmusik," which appeared

in 1930 in

Handbuch

der

Musikwissenschaft, makes no mention whatever of the metric patterns of Bulgarian folk music which differentiate it sharply from the music of other European nations.

These irregular meters are unique within the Slavic family and

totally dissimilar

geographic and ethnological neighbors. Dr. Panoffs musical erudition is beyond question. He had access to authentic sources; he listened to actual Bulgarian folk songs and notated them for future study. But it is exactly here that the difficulty lies: his training in the music theory of western Europe made no allowance for the asymmetric structures which he encountered structures which cannot be accurately reproduced under standard metric signatures and the present method of music notation. With Panoffs work as source material, the Harvard Dictionary of Music, some to the metric structures of Bulgaria's closest

Bulgarian folk music as "mostly dance-like, though irregular meters are frequent" This quotation alone contains two inaccuracies: dance songs cannot be said on statistical analysis to constitute the major portion of the music; and, moreover, most of the typically Bulgarian dance songs are actually

fifteen years later, describes

built

upon

irregular meters.

cannot be mentioned too often that this lack of symmetry in the construction meter and rhythm especially distinguishes Bulgarian folk music from any other. of It had long been considered, as Sir Hubert Parry argued, that as music-making It

nations

rise in the scale of

musical development, the relation of phrase to phrase

As far intelligible and the order of occurrence more symmetrical. back as 1912, when the statement was made, 'such a premise was already. -open to question. In all the arts, an examination of modern trends reveals that exact sym~ becomes more

viii

Preface

and being discarded in favor of relations in pictorial art, of line, color, word groupings, and structure; in music, of tonality, timbre, and rhythm which could' scarcely be described as symmetric in the sense in which Sir Hubert Parry applied the term. I do not mean to suggest that Bul-

metry

is

mass; in literature, of ideas,

and oppressed people, is an unusugarian folk music, the product of an unlettered the However, fact that it does display individual very ally sophisticated expression. traits of a strictly contemporary nature makes it worthy of the closest analysis. Throughout

this

book the term "Bulgarian"

is

commonly employed

to indicate

the music of both Bulgaria and Macedonia. There is no ethnological distinction between the folk of Bulgaria and Macedonia. Whatever political divisions have been established by various treaties are, from the point of view of folk art, altogether artificial.

All the English versions of the poetic texts are my own. The translations make as possible the original meanliterary claims, but aim rather to follow as closely literal translations ing and poetic stress. In order to retain an authentic folk flavor,

no

have occasionally been replaced by phrases which will achieve the same impact in English more powerfully than a word-for-word rendition. Certain songs have not been translated, some because the lyrics are irrelevant to the discussions which they illustrate, others because they are quoted in fragmentary others because they lose their meaning in translation.

form

only,

and

still

me personally this work has been intensely nostalgic. I was born in Buland spent the most impressionable years of my childhood there, but long garia apprenticeship and practice of music in the United States had somewhat dimmed For

my memory of the distinctive quality of Bulgarian folk music. In 1931 I began compiling my own collection of Bulgarian folk songs, adapting some of them for choral

and instrumental performances. Both conductors and instrumentalists drew

my attention to the difficulty of the metric structures for the Occidental musician. Original orchestral works bogged down at rehearsal and others remained unperformed because of their rhythmic and metric complexities. I refused to believe that the patterns which seem quite natural and simple to the Bulgarian peasant must remain a closed mystery to the musician in any branch of the art

who

has spent years in the study of music. It

is this conviction, perhaps which me to inaugurate this study. single factor, encouraged In the course of a comprehensive analysis of the folk music on the basis of form, melody, type classification, and so on, a rather startling situation was revealed. In contrast to inquiries into the origin and history of Greek music, where books on the theory of music exist in large numbers, but where the surviving music exam-

more than any other

ples

and fragments

total less than a dozen, I

twelve thousand folk songs

found myself confronted with some

and but two or

three detailed analytical publications. The fabulous number of songs which such musicologists as Dobri Christov, Vasil Stoin, Raina Katzarova, Ivan Kamburov, and others have managed to get down

on paper and subsequently into print

is a tribute to their perseverance and dedication to the cause of recording the native it before song disappears from the daily life of the people as civilization advances. however, their

Unfortunately, efforts have not assured the preservation of the music for posterity: metal is precious and scarce and printing plate may easily be melted down for more utilitarian purposes.

Preface

IX

An

indication of this precarious future was seen in the difficulty of obtaining, within Bulgaria itself, the publications on which the ensuing study was based. I am deeply indebted to my brother Atanas Kremenliev for his unfailing persistence in securing material for me. When music and books which were out of print and thus not available contained some necessary scrap of information., he

somehow managed to persuade Bulgarian musicologists and research assistants to make transcripts of articles, music, and excerpts from books. Without his assistance this project could not have been completed for many years to come. The editors of the University of California Press and the author acknowledge the courtesy of the following musicologists in permitting the use of copyrighted material from their collections (listed in the Bibliography): losif Cheshmedjiev, Ivan Kamburov, and Raina Katzarova. The Committee of Science, Art, and Culture (Komitet za nauka, izkustvo, i kultura) of the Bulgarian government has kindly to quote from collections published under government sponavailable to us by their efforts. cooperation in this country from Americans of Bulgarian and Macedonian

extended permission sorship

The

and made

birth has been most helpful. In performing for recording, they have been able to recreate for me the atmosphere of their native villages through song, dance, and

legend. I gratefully acknowledge the competent advice of my colleagues in the Music Department of the University of California at Los Angeles: Dr. Robert U. Nelson,, Dr. Laurence A. Petran, Dr. Walter H. Rubsamen, and Dr. John N. Vincent, Jr. In the matter of bibliography, Dr. Wayland D. Hand has been most helpful. Klaus Brill and Richard Hoffmann rendered invaluable assistance with the German translations. Robert Erich Wolf read the technical passages carefully and offered numerous suggestions for clarification. Louise and Richard Fish have graciously performed a number of essential tasks in connection with the preparation of the manuscript. It would be difficult indeed to find a more congenial editor than Glenn Gosling. He has been capable, cooperative, thorough, and patient above and beyond the call of duty.

wife has tirelessly assisted with advice and suggestions concerning style and presentation. She has devoted many hours to reading and rereading the manuscript, when her time and energy could have been more pleasantly spent. The realization of this book is in large measure the result of her efforts as well as mine.

My

Los Angeles, California February, 1952

C

ONTENTS

INTRODUCTION

1

CHAPTER TWO

HISTORIC BACKGROUNDS

7

CHAPTER THREE

METER

H AFTER ONE

16

Regular Meters Asymmetric Meters

Unmeasured Meters Combinations

CHAPTER FOUR

MELODY

51

Scales

Intervals

Cadences

Ornamentation Anacrusis

Modulation

Range

Harmony CHAPTER FIVE

STRUCTURE

82

Monorhythmic Melodies Symmetric Structures

Asymmetric Structures Incomplete Structures

CHAPTER SIX

TYPES Songs of the Past Songs of Everyday Experience

Songs of the Supernatural

108

xii

CHAPTER SEVEN

Contents

INSTRUMENTS

135

The Gusla The Bulgaria The Kavdl The Gdida CHAPTER EIGHT

CONCLUSION

143

BIBLIOGRAPHY

145

INDEX

157

ILL USTRA TIONS

Diagrams of conductor's beat for a 9/16 measure Diagram of conductor's beat for an 11/16 measure

Diagram Diagram Kavdl

of conductor's beat for an 8/16 measure of conductor's beat for a 9/16 measure

30 35

36 38

138

Gusla

140

Gdida

140

PRONUNCIATION:

Certain Bulgarian sounds, some of which have no English to approximate the original as closely as pos-

equivalents, have been represented sible, thus:

Written % i ii

English Equivalent

English Equivalent

u

oo in "food"

ts

ts

y in "may"

ch

in "union"

iu

u

ia

ya in "yacht" u in "submit"

u

Written

sin "pleasure" ee in "meet"

SYMBOLS: The

sh sht

in "puts" ch in "church"

sh in "sharp" sh as above, plus

t

in "time"

following symbols have been used to indicate intervals smaller

than a half tone: Half sharp

Half

flat

P

CHAPTER ONE

INTRODUCTION

ANYONE with a medicum of experience in the collecting and study of folk songs can recognize, classify, and analyze a folk song when he finds one, but very few of us should like to state unequivocally that we have achieved an absolute understanding of the source of any given song, its evolution, and its exact place in the musical life of the people who gave it birth. This aura of uncertainty which surrounds the study of folklore

is

transmitted.

all folk art

Where

is

a natural outcome of the

preservation

is

method

in

which

accomplished by oral means, without impossible to determine scientifically

written record of the transitional steps, it is the exact origin of the material with which the folk artist has dealt. The folk song, as has been pointed out frequently, is never finished; it is in a state of un-

However, while the many variants simultaneously in use exhibit the ideational basis of a specific folk song remains essentially the same. There exists no absolute criterion to determine the authentic, right, or uncorrupted version. Such judgments are, in fact, irrelevant, since they would superimpose a cultivated and civilized taste upon a natural emotional expression. ending

flux.

individual

traits,

Let us suppose for a moment that a particular setting or wording of a well-loved song proves to be the work of a twentieth-century peasant. Will the musicologist's discovery invalidate the song as folklore, or persuade the villagers to discard the way of singing it that is preferred and familiar for an older, more authentic manner? The collecting of folk songs came about as a result of the rise of nationalism. The internal evidence of the folk music which has been recorded in some countries indicates that melodies popular among the people date back many centuries. A fallacious deduction from these facts would lead to the untenable assertion that older is more authentic and thus closer to the spirit of the folk. Actually, must be the final test of the true folk song and, in this volume, where any usage have arisen, this has been the determining factor. questions The origin of music, and thus of folk music, has always been a challenging study

what

is

to the anthropologist as well as to the music historian. Among ancient nations the explanations were chiefly mythological: the Hindus believed that the origin of music must be credited to a divine agency; the Chinese, that they inherited the scale from a miraculous bird; the Nahua (North American Indians), that music

came from the sun; the Javanese,

that

it

came from heaven.

2

.

Introduction

The French were 1767, Jean-Jacques

Dictionnaire de

la

the first to show an interest In primitive music. As early as Rousseau had already included material on the subject in his musique. The English followed his example. More recently the 1

Germans have joined the United

in the pursuit of the comparative science of music. In States, musicology has become an established branch of study only in the

past few years.

A

complete catalogue of the various theories on the origin of music is neither necessary nor desirable here, since the student of folklore should be well acquainted with them. A brief mention, therefore, is made of the more important contributors only. The speech theory of Spencer and the bird-call theory of Darwin have each had numerous adherents. The Berlin philosopher Carl Stumpf traces the origin of music to the signal calls primitive men employed in communicating with one 2 another. Karl Biicher, the political economist, believes that song started as the accompaniment to rhythmic bodily movements. He points out that long and labo-

rious activities are kept

up more

easily if disguised as play,

and that rhythm sim-

work. "Rhythm," he wrote, "springs from the organic nature of man"; 8 it 4 is automatic, instinctive. Early research makes little or no distinction between the beginnings of poetry and the beginnings of song. For this reason, writers on both subjects must be consulted if a rounded picture is to be obtained. In the Balkan villages with which plifies

I am familiar, even in modern times the birth of melody, words, and dance is often a simultaneous creative process. One of the oldest theories concerning the song of primitive peoples and its begin5 ning is that of communal authorship. Although it was A. W. Schlegel who originated this theory, Jacob and Wilhelm Grimm6 generally receive the credit. For is a mystic yet acceptable possibility. The folk can be created by the entire nation. Early in the study of folklore, this belief met with opposition, for it places a severe strain upon the scientific mind

them a

collective creation

a poet; folk song

is

imagine a genuine spontaneous and simultaneous communal utterance which

to

would

result in folk creation.

An

ardent supporter of the collective theory is Francis B. Gummere, who has stated that there is adequate evidence that expression of emotion in primitive man could have been collective and that it is in the festal throng rather than the author's solitude that poetry, and therefore song, is born. "The ballad is a song made in the dance," he writes, "and so by the dance." 7 This statement is not original with 1 2 8 *

Carl Nef, History of Music (New York, 1946), p. 3. Carl Stumpf, Die Anfange der Musik (Leipzig, 1911), pp. 23-34, Karl Biicher, Arbeit und Rhythmus (Leipzig, 1924), p. 17. Ibid., p. 25.

"Now it is a fact, overlooked by German scholars, that A. W. Schlegel laid down a theory of communal origins almost identical with that of the Grimms, at a time when Jacob was barely fifteen and Wilhelm fourteen years old." Francis B. Gummere, The Beginnings of Poetry (New York, 1901), p. 34. Professor Gummere quotes Schlegel 's essay on Burger, found in A, W. Schlegel,, Werke (ed. by 5

Bockling), Vol. VIII, pp. 64

written in 1800, with particular reference to pp. 79 ff. Grimm wrote in collaboration, Deutsche Sagen and Kinderund Hausmdrchen, became immensely popular in Germany, and it was through the writings of the Grimms, certainly, that the communal authorship theory became known. 7 Gummere, op. cit+, p. 321. *

Two

ff.,

volumes which the brothers

Introduction Professor earlier.

Gummere;

it

simply

restates

what

F.

3

M. Bohme had recorded

thirty years

8

George Lyman Kittredge also subscribed to the communal composition theory, but found it difficult to accept Grimm's declaration that das Volk dichtet; he could not figure out the actual production of a ballad without the agency of an individual

He proceeded, instead, on what he termed just grounds of anthropological evidence. "Different members of the throng, one after another, may chant each author.

composed on the spur of the moment, and the sum of these various conmake a song. This is communal composition, though each verse, taken by itself, is the work of an individual. A song made in this way is no man's property and has no individual author. The folk is the author" 9 Dr. Louise Pound opposes this theory of communal authorship, which she considers absurd. She asks, "Did primitive man sing, dance and compose in a throng, while he was unable to do so as an individual?" 10 And she answers her own question thus: "Surely the individual does everything he can do, or chooses to do, as an individual before, or contemporary with, his ability to do the same as a member his verse,

tributions

of a throng." 11

Another much-quoted authority on folklore is Dr. John Meier, whose views were set forth early in the century. In his opposition to collective authorship he contends that not only have the so-called folk songs always come from the upper classes and been preserved by the peasant, but that they will continue to do so, in spite of our more complex civilization. "The process according to Meier is now what it always has been, first an individual composition, then oblivion of the individual and popularity for the song, which is felt by the people 'a necessary condition of folk poetry' to be their own, with manifold changes due in no case to 12 any artistic purpose or deliberation." This belief in the origin of folk music

as the art

and handed down sunkenes Kulturgut, which I will refer to by the lettered classes

Naumann

argues that folk poetry

is

song which has been outgrown

to the illiterate masses

is

known

as ge~

hereafter as the "seepage" theory. Hans transmitted by the lower strata of a civilized

whose tastes lag far behind those of the higher strata. He does admit that uneducated authors (Leute aus dem Volke) can be creators as well; however, they write in the style of earlier periods. These folk songs derive from the art song, but from the art song of a past era. On this basis a unification of hostile points of view may be achieved. It is, then, a biogenetic law that folk poetry not the nation,

communal

poetry in its way recapitulates the stages of preceding art in this sense particularly that Hoffmann-Krayer's statement, Day Volk 18 produziert nicht, es reproduziert nur, may be applied, Naumann suggests. This view was elaborately enunciated by Moses Gaster in his presidential address primitive,

poetry. It

is

to the Folk-Lore Society of 8 9

London

in 1909.

On

the subject of the source of folk

M. Bohme, Altdeutsches Liederbuch (Leipzig, 1877), p. xxxv. Helen Child Sargent and George Lyman Kittredge (eds.), English and

F.

(Boston, 1904), p. xix. 10 Louise Pound, Poetic Origins

* Ibid., 12

18

and the Ballad (New York,

1921), p. 9.

p. 11.

Gummere, op. cit.f p. 165. Hans Naumann, Primitive Gemeinschaftskultur (Jena,

1921), pp. 4-5.

Scottish

Popular Ballads

Introduction

4 art

he asserted,

"No one

will

deny

that, irrespective of date or place of origin, the 14 matter what the social first

originator/' No status of the creator, "strictly speaking, these men did not belong to the masses. 35 more or less what may be called the cultured classes of that time."

individual and not the mass was the

They represented

In the United States, Phillips Barry, like Professor Louise Pound, has opposed communal authorship theories and postulated instead a process which he terms "communal re-creation." According to Barry, "songs created by individuals and tradition become remodeled and changed by practically each handed down the

by

Bela Bartok, authority on Hungarian folk music, he contends that folk music which has been also. the Thus, seepage theory supports transmitted orally from generation to generation, village to village, is actually a in the towns corruption of the art music of some earlier period, long forgotten who the but trained where it was musicians, by peasants preserved by individual

who sang them

lfl

.

.

."

composed

adapted

it

own emotional contour and incorporated it into the great body 17 which forms the folk art of a nation. an unmistakable flavor of condescension implicit in this theory, since

to their

of tradition

There

is

artistic efforts of the simplest presupposes a peasant class incapable of original Those who hold this view also seem to place strong emphasis on the assumption that the peasant is of an inferior order, an indication of either historic or

it

nature.

the distortion of thinking. It might professional prejudice that goes far to explain indeed be embarrassing for a person who had spent a lifetime of concentrated and

arduous study in the acquisition of the art of composition to discover that an uneducated peasant could create a beautiful melody without formal training.

Apparently having examined

among them Ralph Vaughan

the evidence, the leading British folklorists, 20 19 18 Williams, Cecil Sharp, and Sir Hubert Parry, all

have arrived at the conclusion that somewhere a folk poet-singer composed a song and sang it to his fellow villagers. Others sang the song after him, changing what they did not like. The changes which begin as soon as another singer performs the song are minor ones from individual to individual, yet in time they may alter the original so much that its inventor would not recognize it for his own. Nor is it, by that time, the property of any single author-composer, but rather a communal product which contains an indication of the soul and character of the folk who sing it and listen to it with pleasure. This hypothesis takes into account the natural musical ability of untrained folk

and reasons that any national art music must be based upon a previously existing body of folk music. Otherwise, it is believed, the resulting art music would be unconvincing for listeners and performers alike and destined to an early death. Unless, within the early history of a people, some natural demonstration of an instinct for music, pictorial art, or storytelling is present, the superstructure of 14

Moses Caster, "Presidential Address," Folk-Lore (London), Vol.

XX (1909), p. 23.

"George Herzog, "Phillips Barry/' Journal of American Folklore, Vol. LI, No, 202 (OctoberDecember, 1938), p. 439. 17 Bela Bart6k, Hungarian Folk Music (London, 1931), p. 28. M Ralph Vaughan Williams, National Music (London, 1934). 19

Cecil Sharp, English Folk Song,

80

C.

Some Conclusions (London, 1908). of Music (New York and London,

Hubert H. Parry, The Evolution of the Art

1912).

Introduction civilized art will

practice, there

is

5

be erected on an extremely shaky foundation. Thus, in actual no nation which does not possess the rudiments of its artistic

The character of the people, the geographic, political, traceable in a nation's history, all affect the shape and civilized expression; just as the people are the foundation in mere

future from the very

start.

and economic elements emphasis of

its

numbers of a national

life, so,

in art potentials, they constitute the building stones

of the national culture.

That geographic conditions affect musical expression is probable. An isolated and lonely people sings in plaintive fashion; a gregarious and neighborly one sings lively

dance tunes; a coastal population echoes the music of the sea. In countries may be ascribed, at least in part, to differing

of large area, regional differences

topography. Political organization of the country's government

is

influential in a

controls the level of learning among the masses. Where large numbers of people are peasants, farmers, and workers, folk song abounds and endures to ease the burden of uneventful living. Economic conditions, which

different

manner, since

it

stem from the political, determine to a large extent the types of songs which will be found and the relative proportion of work, dance, and religious songs. All these factors can be seen to have affected Bulgarian folk music. Another prime factor which is especially noticeable in the history of folk song in Bulgaria is the impact of the country's history upon the nature of the folk song. For five hundred years the Bulgarian people were ruled by the Turks, who destroyed every vestige

of native learning, permitted no schools, and eliminated native intellectual leaders early in their occupation. And yet, as is amply demonstrated in the history of all oppressed peoples, tradition is the staff upon which people lean in time of need.

Folk song offers, together with folk tales and ballads, a way of preserving national culture. Events of local importance, deeds of folk heroes, romances which seemed particularly appealing, were all recorded in song and thus remembered and transmitted to succeeding generations. Inaccurate and nonfactual though the accounts thus preserved may be, they are one of the few ways of building a national tradition

where written

histories are denied.

problem of passing along a nation's history without benefit is the problem of communication with friends in a country inhabited by enemies. I was interested to observe during the Second World War that the French Resistance employed this method most effectively. For song, in a tongue unknown to the occupying army and with no strong emotional overtones of anger, sarcasm, or revolutionary feeling, seems an innocent pastime. The singer from the next village who gathers a modest crowd in the village square presents no serious threat to armed guards. Nor can there be much danger from the songs of Closely related to this of scribe or native cleric

working people in the fields, of small groups who gather in the evening for working bees, or of the wedding celebrants who sing throughout the festivities. Folk song as communication is an almost unnoticed weapon of a conquered people, because singing and music are invariably an important part of the daily life of the peasant. It is almost inconceivable to find a small country village without singers, fiddlers, flutists, and others who perform on native instruments. They do not have the diversions of the large city to while away their tim&. Music is their theater, their nightclub, their double-feature movie. It

is

the emotional core of

6

Introduction

their religion, the solace which makes hard labor bearable, the magic that leads their weary feet into dance patterns after a long day's work. higher levels of civilization the musician has been made a social pariah with discouraging fre-

On

quency; simple folk, however, look up to the musically gifted among themselves and hold them in high esteem. Bela Bartok, who follows the seepage theory of the origin of folk song, justifies it on the ground that peasants may be considered incapable of composing new tunes. One may wonder, then, where civilized man learned how to do what natural man is unable to accomplish. Must one suppose that the extensive theories of scales and harmony, for instance, were formulated from thin air before music of any kind could be created? It is highly improbable that authorities on the origin of music would endorse a hypothesis which insists that a man must write before he can sing. This specific study of Bulgarian folk song would have been abandoned midway had evidence pointed to the music as being what I should like to call secondhand. In investigating what has held the popular imagination over long periods of time, one gains a definite respect for the taste of the peasant. Setting aside some earthy crudities which may offend the delicate, one concludes that music which has survived and been sung many times over is certain to display intrinsic value. There is an unfailing dignity in the simplest of folk melodies that cannot help but be instructive to the schooled musician and especially appealing to the listener whose ears have been assailed with every novelty of auditory experience that the modern composer has been able to invent. Although strict analysis is the prime object of this study, the lasting quality of the folk music included here is not the least rewarding discovery that has been made.

CHAPTER TWO

HISTORIC BACKGROUNDS

) LA VIC-SPEAKING peoples, of whom the Bulgarians are a part, represent the largest linguistic group in Europe today, with a population totaling well over 200,000,000. The early history of the Slavs as a whole is rather obscure. According to Samuel Hazzard Cross, the presence of the Slavs in Russian territory, "if the

Neuri as Slavic is correct, reaches well back toward the beginning of the first millennium before Christ/* 1 Historians have traced Slavic origins to the ancient Scythians, Sarmatians, Thracians in fact, to virtually every nomadic tribe that inhabited eastern Europe during the formative stages. Pliny the identification of Herodotus's

23-79) was the first to identify the Slavs as Venedi in his Naturalis was not, however, until around A.D. 550 that the name "Slav" appears in written records (De rebus Getica of Jordanes). It seems certain that sometime during the first century of the Christian Era, tribes which later proved to be Slavic crossed the present Carpathian Mountains and, moving gradually westward, settled eventually where now we find the three main

Elder

(ca. A.D.

historiae. It

geographic divisions of the Slavs: eastern (Russians), western (Poles, Czechs or Bohemians, and Moravians), and southern (Slovenes, Serbs, Croats, and Bulgarians). From ethnological and philological points of view the Bulgarians are one of the

most interesting of

all Slavic peoples, since their culture is a curious amalgamation of the Slav tongue with traits they do not share with the remaining members of the Slav family.

From the first to the seventh century, the territory now kno'wn as the Balkan Peninsula was in a constant state of flux, politically, economically, and ethnologiWaves

of nomadic invasions ebbed and flowed, tribes prospered and disBalkan Peninsula thus became alternately cradle and grave to the appeared; various cultures, religions, and races. Because no static core of population existed, cally.

historic records are understandably meager. The information we ever contradictory, serves to give a picture of even greater unrest

do have, how-

and

instability

usual in the forming of national boundaries. Among the tribes that came either to colonize or to pillage were the Goths, the Huns, the Ostrogoths, and, somewhat later, the Slavs. The Thraco-Illyrians, who had inhabited the territory through all the previous invasions, were totally absorbed by the Slavs.

than

1

is

Samuel Hazzard

Cross, Slavic Civilization

Through

the Ages (Cambridge, Mass., 1948), p. 11.

Historic Backgrounds

8

Some of the invaders were advanced in culture and peaceful in nature; others were crude and warlike. After many decades the region gradually acquired a certain amount of prosperity. When the Bulgar hordes appeared at the end of the seventh century, they were attracted by what they saw between the Danube and the Aegean Sea, and decided to settle there.

The origin of the primitive Bulgars has never been definitely stated to the satisfaction of modern historians. Authorities have described the Bulgars as "nomadic people of Ural-Tsud or Finnish extraction," as "people of Turkish origin/' as a nation of "Scythian or Slavo-Tartar extraction," as "Finno-Ugrian." Theophanes (ca. A.D. 758-817) identifies them as Huns; Constantine Porphyrogenitus (A.D. 905-

known as Onogundors at one time. Other names given to were Ohogurs, Sanagurs, Kuturgurs, Hunugurs, Avars, Pet-

959) believes they were their predecessors

chenegs.

Byzantine writers in the second half of the sixth century tell us that the primitive Bulgars were not Slavs, and from the numerous sources available we are able to

more complete picture. The Bulgars were a military tribe which "through perfect organization and iron discipline imposed its will upon tribes more numerous and more cultured than itself." 2 The arguments advanced by Dr. Ivan Shishmanov (who is the leading authority on the subject in Bulgaria) seem piece together a

no doubt that the Bulgars are of Turkish-Tartar origin, and that the name "Bulgar" comes from the river Volga on whose banks the Bulgars settled at one 8 time, calling themselves "Volga people." to leave

Toward the middle of the seventh century, hordes of wild Bulgar horsemen, led by Isperikh, swept across the Danube into the Balkan Peninsula to conquer the more cultured Slavic inhabitants. Although their military strength and skill presented a continuous menace to the Byzantine emperors, the internal relations between victor and vanquished were somewhat more peaceable. Within the next two centuries, while waging wars that extended Bulgarian territory far beyond its early boundaries, the Bulgars adopted the language, customs, and cultural patterns of the Slavs and effected such a complete assimilation through

intermarriage

that only the Bulgarian

name and

political organization remained.

The

first Bulgarian kingdom was founded in 679 by Isperikh. Boris I, whose extended from 852 to 884, introduced Christianity into Bulgaria; his people reign were evangelized by disciples of the Macedonian missionaries St. Cyril and St.

Methodius.

originated the Cyrillic alphabet specifically for the Bulgarians in use in Bulgaria as well as in Russia and Yugoslavia. Boris hesitated a long time in making his choice between the Roman Catholic and the Eastern Church, but finally chose the latter.

and

They

it is still

The

Bulgarian empire was established by Simeon (893-927), under whose leadership great progress was made in arts and letters, but the glory of the empire he founded was short-lived. After his death, the Bogomil heresy, which denied the divinity of Christ, split Bulgaria disastrously. A separate western empire, including Albania and Macedonia, was founded at Ohrid under Shishman of Turnovo. 2

first

E. J. Dillon, "The Origin and Language of the Primitive Bulgars/' (London, 1904), p. 278. 3 Ivan D. Shishmanov, Kriticheski pregled (Sofia, 1900).

The Shade

of the Balkans

Historic Backgrounds

9

The

division proved fatal, and distracting wars on the eastern borders made it possible for Greece to conquer the eastern empire in 967. The western empire survived until 1014, when the Greek Basil II (known in Bulgarian history as

Bulgaroktonos, or "Slayer of Bulgarians") committed one of the most barbaric atrocities of historic record. He blinded 15,000 Bulgarian prisoners of war, leaving one soldier in five hundred with one eye to lead the men back to their own camps. A few years later the first Bulgarian empire collapsed completely and Bulgaria

remained subject to Byzantium for more than a century and a half (1018-1186). Ivan and Peter Asen of Turnovo led a combined insurrection of Vlachs4 and Bulgars to regain Bulgarian independence in 1186. The capitol of this second empire was at Turnovo, which the Bulgarians of today consider their traditional capitol. Of the line of Asen emperors, who traced their origin to Shishman, Ivan Asen II was the greatest, and indeed perhaps the greatest of all Bulgarian monarchs in history. During his reign (1218-1241) he brought Albania, Epirus, Macedonia, and Thrace into the Bulgarian empire; he governed justly and well and saw a flowering of the arts and of commerce and a prosperity hitherto unknown to his people. With the dying out of the Asen line in the middle of the thirteenth century, the decadence of the country terminated in surrender to Serbian forces. The Bulgarian nobility never again recovered its former power, and in 1396 the last Bulgarian dynasty was annihilated by the Turks. For five centuries, under Turkish yoke, Bulgarian independence remained a memory and a myth to the Bulgarian peasantry.

This was the darkest epoch in Bulgarian history. "The invaders carried fire and sword through the land; towns, villages and monasteries were sacked and destroyed, and whole districts were converted into desolate wastes." 5 The inhabitants of the plains fled to the mountains, where they founded new settlements. Many of the nobles embraced the creed of Islam and were liberally rewarded for their apostasy; others, together with numbers of the priests and people, took refuge across the Danube.

The

Christian population was subjected to heavy imposts, the principal ones being the haratch, or capitation tax, paid to the imperial treasury, and the tithe on agricultural produce, which was collected by the feudal lord. Among the most cruel forms of oppression

was the requisitioning of young boys between the ages of ten and twelve, who were sent Constantinople as recruits for the corps of

to

6

janissaries.

The

long era of subjection left the Bulgarian peasants without aristocracy or any kind. Because of this lack of literate spokesmen, the existence of the Bulgarian people was almost unknown in Europe as late as the beginning of the nineteenth century. Even students of Slavonic literature were unaware of the ethnic group which comprises the Bulgarian nation. As a matter of fact, most of the peasants themselves did not know that they were Bulgarians; for intellectual leaders of

centuries, kept in ignorance

by the Turkish war lords and Greek

clergy, they

had

Vlachs, or Ruman race, are a Latin people, the majority of whom live in Rumania. The Vlachs involved in the revolt of 1186 were settled in Thrace, Haemus, and the Moesian lands. 4

The

Especially heavy taxes levied in 1185 provoked the rebellion. B James David Bourchier, "Bulgaria," Encyclopaedia Britannica (llth ed.;

IV, p. 780. 9 Loc. cit.

New York,

1910), Vol.

i

o

Historic Backgrounds

been referring

to themselves as Greeks. In 1762, Father Paisii, a

Athos, wrote a history of the Bulgarian tsars and saints which

volume of Bulgarian literature still extant, tematically burned by the Turks. The works

is

monk

of

Mount

actually the

first

writings having been sysof Father Paisii mark the awakening all earlier

of national consciousness in Bulgaria. With the dawn of the nineteenth century, the national revival heralded by the writings of Father Paisii spread widely. Several works in modern Bulgarian appeared, and in 1835 the first Bulgarian school at Gabrovo began instruction in the native language. As consciousness of their national entity stirred among the

a strong reaction against the Greek clergy set in. Although there were it was by the pen rather than by the sword that of was achieved. In 1870, perhaps as a sop to their recognition Bulgaria finally restless Turkish the slaves, increasingly government recognized an autonomous Bulgarians,

scattered military uprisings,

Bulgarian Church. Encouraged by this forward step, a premature revolution broke out in 1876, and was savagely suppressed by the Turks.

Word of the attendant atrocities reached western Europe and aroused the sympathy of the outside world. Russian forces invaded Bulgaria in 1877 and liberation came

last in 1878. At the Treaty of San Stefano (March 3, 1878), Bulgaria's fondest hopes were realized and an independent Bulgaria was established with generous boundaries. The triumph was brief, however. The role which Russia

at

had played in the turn of events caused uneasiness among the greater European powers who remapped the Balkan Peninsula in Berlin on July 13 of the same year. Bulgaria was then divided into three sections, separating Eastern Rumelia and almost the whole of Macedonia from Bulgaria proper. In April, 1879, the assembly at Turnovo elected, as the first sovereign of the third Bulgarian kingdom, Prince Alexander of Battenberg, member of the grand ducal house of Hesse and nephew of the Russian tsar. The monarchs who ruled Bulgaria from that date until the establishment of the Bulgarian National Republic in 1944 were related to all the

major royal houses of Europe and in no way connected with the native Bulgarian dynasties, which became extinct in 1396.

The boundaries

no means final. The country now conabout 40,000 square miles, -and is bounded by Rumania on the north, Yugoslavia on the west, Greece on the south, and the Black Sea on the east. Macedonia, after the First World War, was divided between Bulgaria, Greece, and Yugoslavia. With the end of the Second World War, Bulgaria has gradually been gathered into the group of Balkan nations now effectively contained behind the Iron Curtain. tains

set

up

in 1878 were by

some 6,000,000 Bulgarians

in.

The ancient Slavic peoples, according to the information we have been able to piece together, had a superstitious faith in the power of sound. As a pagan race, they believed in powers superior to man who controlled the destiny of the universe and directed human affairs. their was rich in water Consequently,

mythology or chanted at sacrificial ceremonies, at funerals and weddings, at work and at play. Music was a highly respected art, and talented members of the community were trained in its mysteries. The nymphs, wood

sprites,

and strange

ritual.

They sang

gusla, a primitive instrument still in use in Bulgaria, supplied the musical accompaniment for the folk singer, who was thus known as a or

guslar

gaduldl Although

Historic Backgrounds

1 1

his songs were never written and his music frequently stemmed from requests or suggestions of his fellow peasants, the guslar can be said to be the prehistoric predecessor of the Slavic composer. The manner of performance of music exhibiting

a distinctly spiritual tone is still popular among the Bulgarian peasants; in certain isolated parts of the country they still practice rituals which date from very early 7 centuries.

The

existence of pre-Christian folk music is barely discernible in the mass of Bulgarian folk songs still available for examination. In the songs of ritual and

legend, of 8

myth and

fantasy, there are, however, certain faint echoes of ancient

From

the remaining examples we may assume that the music of the early Slavs was purely melodic, with strong diatonic foundations; the melodies were monotonous and void of wide intervals. They closely followed the text, forming times.

two-verse couplets. Duple meter was the most frequent, although irregular five, and similar measure units which appear in later Bulgarian folk songs were

seven,

sometimes used. 8

With

the conversion of Bulgaria to Christianity in the ninth century, folk music to strong antagonism from the clergy. The unmistakably pagan

was subjected

flavor of the folk

song was naturally censured by the Christian leaders

who were

attempting to bring the light of their own religion to the Bulgarian peasant. And, since the records of all things Bulgarian were totally, destroyed in a later epoch, it not altogether clear how successful were these attempts to suppress the spontaneous musical expression of the natives. The Bulgarian clergy, perhaps as a countermeasure, began to sponsor and em-

is

ploy a Bulgarian liturgy which differed from the then-accepted Greek Orthodox or Roman liturgy in use elsewhere. As late as the twelfth century, influences from the music literature of both churches are apparent, although the Greek Orthodox connections, always stronger than the Roman, were of greater importance in the

formation of an independent Bulgarian church music. Bulgarian musicians in turn have played an important role in the establishing of church music in Russia. Toward the end of the tenth century, Vladimir, Prince of Russia, took Bulgarian Archbishop Mihail from Constantinople to Kiev. With Mihail were many bishops and priests, as well as many church singers and their assistants, all chosen from among the Bulgarian Slavs and sent to Russia in order that they might teach the newly Christianized Russian people the Christian liturgical songs according to the Eastern Church tradition. Mihail, himself a learned man and well versed in religious matters, converted many thousands, selected 10 church officials, and built new churches throughout Russia, 7 The most primitive of all rituals among the Bulgarians of today is the fire dance. The details vary with local customs. However, the many versions all have one theme in common: whether the customary fire dance takes place before sunrise, during the day, or late in the evening, the parand sickness. They will be immune to ticipants will be protected against evil powers, magic, and their avoid will snakes. crops will not suffer from fire, flood, unhappy marriage, They poisonous or hailstorms. On this occasion old grudges are forgiven and friendships are renewed. The ceremony

includes not only dancing but singing, shouting, by young and old alike.

and the

firing of guns.

The

fire

dance

is

attended

8 Among them are songs for rain, songs dealing with the creation of the world, the "wedding of the sun/' Others resemble Greek odes to heroes and the gods of many centuries before Christ. D. B. Radev, Obshta istoria na muzikata (Sofia, 1948), pp. 33-34.

10

nintavp T*fp. Musir. in the Middle Aires fNew York. 194CN. D. 95.

1

2

The

Historic Backgrounds Bulgarian composer of whose music we have any

tangible record is the Orthodox church Eastern of the In Kukuzel. Ivan musician, history twelfth-century music, contemporary Bulgarian musicologists place Kukuzel second only to St. John of Damascus (d. 754), famous Syrian composer-poet who has been credited first

with the invention of the eight echoi of the Byzantine chant. Ivan Kukuzel was born in the village of Dzermentzi, Debur, in western Macedonia, in all probability toward the middle of the twelfth century. There is considerable disagreement about his exact dates. One source gives them as 1227-1279, and others place 'him even later. From various accounts of his life it is obvious that he lived in the time of the First Crusade, and that he was educated in the courts of Constantinople, where he remained for some time, composing and writing books on church music. Emperor Alexius I (1048-1 118) commissioned him to create a new type of chant, "more impressive and more solemn than that of St. John of Damascus, a chant

The result, notated in neumes own invention, is known as papadikai. Thus Ivan Kukuzel is reputed to have had much influence on Greek church music. In his church compositions Kukuzel employed folk-song melodies. One of these,

worthy of the splendor of the Byzantine Empire." of Kukuzel's

na Bulgarkata (example 1), notable for its polished, formal structure and melodic beauty, is still sung during Passion Week in the Eastern Orthodox services in Bulgaria. With its unusual range (almost two octaves), daring modulations, and developmental approach, Kukuzel's Polieleiat na Bulgarkata is an exceptionally advanced composition for the epoch in which it was composed. Other compositions of Kukuzel's which are sung in the Eastern Orthodox services are Pridvorna Heruvimska pesen, S'vishe prorotzi, and Vladiku i SviashtennonaPolieleiat

chalnika nashego.

Example I

E

1.

Polieleiat

J ei

na Bulgarkata. Ivan Kukuzel. Transcribed by Peter Dinev."

Jjjj Gos

J

-

J

JJ JJ. J'JJ JTJ'J po

-

ho

-

J

J

II

di

In the fourteenth and fifteenth centuries a distinctive Bulgarian church singing,

from that of the Greeks, and known as the Bulgarian chant, Three main influences played a part in the formation of this characteristically Bulgarian church music: the importation of bishops and priests from Rome, where the rise of the polyphonic style was already under way; the ascendancy of the Greek Orthodox Church in the political structure of the Bulgarian Church; and, last, the authentic Bulgarian chant, which undoubtedly flourished in the famous school at Turnovo and which was enriched by the cplorful folk songs of the times. Unfortunately, except for music in Kukuzel notation, no other records of such early music have been uncovered in Bulgaria; together with other native cultural achievements, they were destroyed by the Greek clergy after the Bulgarian Church was placed by the Turks under Byzantine control. A few remnants of Bulgarian church music have been preserved in manuscript significantly different

evolved.

11

Peter Dinev,

Duhovni muzikalni

tvorbi na Ivan Kukuzel (Sofia, 1938).

Historic Backgrounds

1

3

in Russia, whither fled the leaders of the Bulgarian Church during the fifteenth century. Russian musicologists have thus had an opportunity to study the Bulgarian

chant;

it

is

from

their research that

characteristics, for they

have praised

we may its

sketch even briefly

its

distinctive

construction, originality of concept,

and

12

beauty. Barsky, a traveler, author, and Russian authority on Eastern church music, writes that the Bulgarian chant of the seventeenth century was much more

and melodious, and had a more religious, spiritual content than the Byzantine chant. The Greek clergy obtained permission from the Turkish conquerors to assume complete control over the Bulgarian Church. From the time of the Turkish in-

beautiful

vasion, then, the written record of Bulgarian life is nonexistent. The spiritual and political conquerors undertook to wipe out every trace of whatever was Bulgarian

and to keep the native population in ignorance and subjugation so abject that at no time would there be a threat to the power of the oppressor. There were no large gatherings of the people except in church; there were no schools, no village meetings, none of the usual group efforts through which a peculiarly national art or culture

And

is

normally preserved.

not only did the national music not continued to actually develop and evolve into a "poetic and musical treasure, an expression of the thought and the creative genius of the folk." 33 There are few Bulgarians and, indeed, few students of Bulgarian history and culture who would agree with the poet Pencho Slaveikov, an authority on Bulgarian folk art, when he says: "The Bulgars should be very grateful to their five hundred years of slavery. It is due to this, in the first place, that they have remained Bulgars, yet, despite these difficult conditions,

disappear, but

for the

it

after suppressing every class distinction left them long to conjure up a soul, to

Turkish overlords

enough

in peace

and gave them ample opportunities

14

generate a body, to subdue themselves in circumstance." In this highly colored statement, however, lies an important clue to the understanding of the folk music which we shall examine. Without unduly laboring the point,

it

must be remembered that when the Turkish conquest had subdued

all of

Bulgaria, the Bulgarian people were without leaders, aristocracy, intellectuals. Only peasants remained, and these fled from the plains and cities to the relative is therefore a mountain people, unlettered and isolated one community from another, that is responsible for the enormous body of Bulgarian folk music under consideration here. Most Macedonians and Bulgarians live in villages, away from the distractions,

safety of the mountains. It

danger, and sophistication of the cities. (The danger of living in big cities, in Bulgaria at least, has been actual and physical through the centuries of constant since the little country has always been strategically important for the pressure,

Drang nach

Osten.)

Cut

peasant has created a

life

off

from commerce and the ruling which knows few

of his own, a life

class,

the Bulgarian

virtues, chief

among

A. Voznesenski, Bolgarskii rospev (Kiev, 1903), records this impression of the music. Among many use of Bulgarian chant, Tebe odeiushtagosia religious compositions of Russian composers making and Blagoobrazni losif of Bortnianski are among the best known. 12

18

Radev, op.

14

Pencho Slaveikov, "The Folk Song of the Bulgars," The Shade of the Balkans (London,

p. 59.

cit.,

pp. 89-90. 1904),

1

Historic Backgrounds

4

them those of work and song. In song the peasant exposes his innermost feelings of sorrow and exaltation, of reverence and superstition. It is a catharsis for the experiences of a person, a community, a race. It is in the song that we find the spirit of the nation. Macedonians and Bulgarians sing alone, in groups, in the fields, returning home from the harvest, at working bees during the winter months.

For many centuries the

social life of the

Bulgarian has revolved around work,

and dance.

music,

It is not strange, therefore, that the folk music of the Bulgarian is closely connected with dance and song. All musical forms have felt the influence of the rich cultural heritage of the various peoples who have crossed the tiny country of the

Bulgars, leaving behind new and frequently strange ideas, customs, and skills. In thirteen centuries, however, the Bulgarians have assimilated all foreign influences in a national tonal art which embraces the elegance, the tenderness, and the creative impulse of the Slav, his

more Oriental

pre-Slav

historic preparation

an

and the angular,

the daring, the harsh qualities of from this type of

predecessors. It is inevitable that

art should evolve that

is

tremendously complex despite

its

primitive appearance.

Systematic collection of national folklore in Bulgaria is a comparatively recent accomplishment. In fact, there was no serious effort on the part of Bulgarian scholars to assemble the folk song of their native land until the Ukrainian historian lurii Venelin (1802-1839) stimulated interest in that direction. 15 Since then, within a mere century and a quarter, the collections of Bulgarian folk songs have

grown richer and richer, new collections being constantly compiled. Thus between 1816 and 1878 alone, more than 2,000 songs containing 74,166 verses were collected."

When

the nineteenth

was published in 1900,

volume of Sbornik za narodni umotvorenia it

contained 3,000 additional folk songs.

i

narodnopis

The number

of

notated folk songs to date is difficult to estimate, but it is certain that the total exceeds 20,000. The excellent collections of Vasil Stoin contain several thousand

The younger

generation of musicologists and composers is aware of the of such importance preservation of the national song. As a result, most of the in the musical life of Bulgaria have collections which people prominent they themsongs.

selves started

and are constantly enlarging.

For the present study

I have consulted collections containing some 12,000 folk these sources, examples have been chosen most frequently from the following volumes (see Bibliography): Vasil Stoin, Narodni pesni ot Sredna Severna ot Iztochna i Bulgaria^ Narodni pesni ot Timok do Vita, Bulgarski narodni

songs.

Of

pesni

15

Venelin (Venelovich), who was born Georgi Hutza, studied religion, history, and medicine. Delayed by the Greek revolution of 1823, while on a trip through eastern Europe, he was so impressed with Bulgarian folk art that he immediately commenced the study of their language, history, and culture. Upon completion of his study of medicine in Moscow, Venelin published his Drevnie i nineshnie bolgare . a book which had (Ancient and Modern lurii

. .

Bulgarians), far-reaching highly respected in Bulgaria for having thus resurrected the hopes of her people. 18 The first Bulgarian folk song to appear in print seems to be the one in Vuk Stefanovich Karadjch's Narodna srbska pesnarnitza, published in 1815. According to Professor Mihail Arnaudov, it was a lyric song from Razlog, which Karadjch had heard a Macedonian sing in Vienna , p. 77). (Ocherki .

effects.

Venelin

.

.

is

Historic Backgrounds

1

5

Zapadna Trakia, Bulgarskata narodna muzika; Ivan Kamburov, Illustrovan muzikalen rechnik, Bulgarski narodni pesni, Muzika i narod; Dobri Christov, T echnicheskia stroez na bulgarskata narodna muzika; Mihail Arnaudov, Ocherki po bulgarskia folklor; Sbornik za narodni umotvorenia i narodnopis, Volume XXVII and Volume XXXIX. '

CHAPTER THREE

MET ER

^_^J NE OF THE most folk music

difficult

and

at the

same time one of the most fascinating

its meter. It is difficult because in the which are not found in Western elements must introduce to be as logical at metric the because patterns will prove music, and fascinating the end as they would appear strange at the beginning. Following are the metric schemes which appear in Bulgarian folk songs: regular; asymmetric; unmeasured;

that of

is

as'pectTof Bulgarian discussion of meter we

combinations of regular, asymmetric, and unmeasured.

REGULAR METERS most common of most frequent forms are:

Simple duple meter folk music.

The

4JA In

fast

tempo

(

by

is

J J

far the

J

>

=

J

>

J

nn >

130-160), 2/4

is

all

regular meters in Bulgarian

J >
*

the metric signature for the Prosto hdro

the setting for poetry, (ordinary dance). When 2/4 provides

each measure

sets

from

in Bulgarian folk music is, simple structure of the 2/4 however, balanced by the variety of musical sentences which it forms: six-measure five-measure groups* (2 + 3) or (3 + 2), periods (5 + 3), nine-measure periods (3 + 6), eleven-measure seven-measure groups (4 + 3 + 4), fourteen-measure

two

to four syllables.

The

groups

groups (4

-f

5

4-

5),

Example 2 uses

(3

-i-

4),

and many

many

others. of the subdivisions in duple meter.

The

metric patterns

1

Example M.M. J= 152 2.

r ir

c/J'r

nr

established in the first four measures are repeated almost identically, beginning with measure five. At measure eight, where the final cadence would ordinarily fall, a new metric pattern is introduced to retard the motion and make a twomeasure extension more graceful. 1

Vasil Stoin, Bulgarskata

narodna muzika

various collections of Stoin, the notation

is

No. 163. In all quotations from the where otherwise indicated.

(Sofia, 1927), p. 69,

his except

Meter The

ji

triplet as

jJ

In 2/4 or

In fast 6/8

Instrumental than In vocal music (example

Is

more frequently found In

3).

Played on the kavdl by Marko Dim. Djonov, 35, of Stakevtzi, Belogradchlk, 2 September, 1926. Notated by P. E. Stefanov.

Example

3.

M.M. JrlTO

^

3

3

P**^

Triple meters, 3/4, 3/8, or 9/8, are almost nonexistent. The very few Instances of triple metric signatures date from the latter part of the nineteenth century, when the Balkan people began to establish contact with western Europe. The song Tzvete milo, tzvete krdsno (example 4), favorite of thousands of school children, provides a good illustration of Occidental influence on more recent Bulgarian folk music.

Example 4. Tzvete milo, Moderate

J

if

f f

tzvete krdsno

8 (Dear Flower, Beautiful Flower).

f\

r

r

mi-lo, tzve-te kras-no koi

Tzve-te

J 'ir

r

te

i

tfi-ka

po

-

sa

di?

hf nfrinr P6

-

sa

-

di

me

de

-

ir J'lr F F ip si do Gos-pod s ne-go-va* ta

ru

-

ka.

The double period of sixteen measures calls for repetition of each eight-measure period. The second period is constructed by contrasting motion. The last five measures are an exact repetition of measures four to nine. The melody implies harmonies and has a compass of an octave. Sequences are conspicuous. Each phrase of the period strictly follows the antecedent-consequent relationship. The melody is without question a product of a schooled musician, since it follows all academic rules of melody writing. The genuine Bulgarian folk song is altogether definite

dissimilar in construction.

Of

the three forms of triple meter

(Jj3, JU

and J

J\

the

last,

or

the most frequent in the few examples available. In Bulgarian folk trochaic, music there are no dance songs in regular triple meter. In combination with other meters, however, 3/4 is by no means rare. Examples 5 is

through 10 2

Vasil Stoin,

Ot Timok do 8

illustrate various

methods of obtaining such combinations.

Narodni pesnt ot Timok do Vita

Examples where source or notation

of the author.

(Sofia, 1928), p. 1080,

No. 4036. Hereafter cited

as

Vita. is

not indicated have been taken from the personal collection

Meter

18 Example

Combination of 2/4 and

5.

3/4.*

M.M.Jsl52

Example

Combination of 3/4 and

6.

B

2/4.

M.M.JSUO

.

Example 7. Combination of 3/4 and ft M.M.J=120 ?

L

*>pr

L?I"

6

4/4.

r^3^

Example 8. Combination of 3/4, 5/4, and 4/4. Svetogortzi (Pilgrims 7 Sung by Ganka Simeonova, 35, of Gorna-Lipnitza, Veliko-Turnovo. A

Triignali sa (2)

They are leaving (2) The three worshipers

Ta shte

And

Po

The holy places. They will cross (2) The Balkan mountains. They will cross (2) The Thracian plains. They will cross (2)

idat, shte iotidat (2) svetata gora.

Shte preminat (2) Starata planina. Shte preminat (2)

Trakisko ravno p61e. Shte preminat (2)

Reklta Maritza, Shte nagaziat

(2)

Ch^rno i B^lo m6re, I shte otidat

Po

svetata gora.

Tarn shte kupiat, Sre"burni kambani. *

Holy Land).

M.M.J*80

Trima svetog6rtzi

*

to the

Vasil Stoin,

No. 901. 7&d.,p.41. No. 113. 7 Ibid., p. 857, No. 2662.

till

they reach

Maritza River,

They will cross (2) The Black and the White

Sea,

And they will reach

The holy places. They will purchase there Church bells made of silver.

Narodni pesni ot Sredna Severna Bulgaria

Ibid., p. 299,

they'll travel

(Sofia, 1931), p. 849,

No. 2624.

(2)

Meter Combination of

9,

Example

3/4, 4/4, 2/4, and 5/4. 8 32, of Debovo, Nikopol.

Tzveta Ivanova Drambozova,

M.M.J = 116

3

mi, ndni (Lullaby).

Sung by

^

.

.

^ na

Na-ni mi,

-

ma- mi- no

ni,

de

-

ot go-ri

Ndni

-

fa

-

e

te,

ni Tzoch-ka

-

za ru

la su-nio,

-

chi - tza

.

10. Combination of 5/4, 3/4, and 4/4. Nedovolna ot svekurva kavgadjika (Diswith Her Quarrelsome Mother-in-Law). Sung by Georgi Daskalov, 47, of Petokla-

Example satisfied

dentzi, Svishtov.

9

M.M.J=60

Pa-vliu-vi

mla-da bul-ka

tza,

be-li ri-zi

tia

pe-re-she.

Other combinations not quoted here include 4/4 and 3/4, 5/4 and 3/4, and so The examples of melodies which use 3/8 with other metric groupings are not so frequent as those given. Examples 11, 12, 13, and 14 are, in fact, very unusual. on.

Sung by lona Mar. Krustevska,

11.

Example

5^

n

^ Di

16- dil

ba

-

iu

Example

pu

trugr-

-

na

-

-

ian

ba

za-mi-

io

na,

Su

za

tur

-

pa se na

Ija,

-

va.

13

B -

ti

-

no

Koi

P. Sheitanova, 26, of Troian.

Sto

ta

-

Golema Zelezna, Troian. 10

Wm

Su

va

Sung by Stefana

12.

Pa

-

mi

75, of

-

na

de

dul

-

ga.

po -vur

za -de

s ha

na, 8

-

man,

pa

si

na

No. 2696. For complete text see p. No, 1420. JO J6id v p.541 No. 161'3. 11 Ibid., p. 447, No. 1353. 9

Ibid., p. 868,

Ibid., p. 473,

>

por 129.

-

^>" ^ ti

7T

r

po

-

f

tro

-

pa.

Meter Stoian had departed already, his long journey had gone, When backward he turned of a sudden

Upon

And knocked at

the gates of his

home,

Example 13. Furchele mi (The Gray Doves Flew). Sung by Rada Mikhova and 13Maria Koleva, of Pomashka-Leshnztza, Teteven, March, 1928. Notated by R. D. Katzarova.

M.M.Aieo

Pur-che4e

/^

mi

La-za

fur-clie - le,

-

si-vi s be

re>

- li

gn

-

In

-

be.

Example 14. Turchin sldza iz gord zelena (A Turk Descends from the Green Forest). Sung by Ninka K. Rampelska, 58, of Staliiska-Mahaia, Lorn, January, 1927. Notated by Christo Iliev.

13

^^

M.M.h=60

^

(A 120)

ftfe

dflb

za

Tur-chin sla

iz (

go

-

ra

A 120)

^

r tu

The 6/8

-

tun

iz

pi

as triplets

is

lu

la

cher

-ve-

na.

found only in instrumental music; in slow tempo

be considered nonexistent. Of

it is

so

the folk songs in regular rneter may which have been examined in the course of this study, more than half are in 2/4; approximately one-tenth are equally divided between 3/4 and 4/4; and the remainder are in combinations of the above. Most folk songs in regular meter (with the exception of a certain number in 2/4 which are dance-inspired) stem from

rare that

lyric folk

it

all

poetry and are not associated with the dance.

ASYMMETRIC METERS A

great

many

of the Bulgarian dance songs bear such metric signatures as 7/16,

9/16, and 15/16. These tunes are by far the most interesting, since the combinations of seven, nine, and fifteen in these instances are not septuple, compound triple, and compound quintuple time, respectively, but are, instead, measures which contain three, four, and seven asymmetrically combined beats, each beat containing two or three sixteenth notes. Whether this conception of metric grouping is of purely Slav origin has not

been established. Further research into the history of Bulgaria before the seventh century might uncover data on the possible influence of Tartars, Thraco-Illyrians, and Petchenegs all of pre-Slav origin. Greek writers have emphasized the fact that the origin of their music is chiefly Asiatic. It is possible, therefore, that centuries ago both Slavs and Greeks drew from the same source Arabs, Persians, and 14 other races. In the music of present-day Turkey and Greece these asymmetric 12

M 14

five,

Stoin,

Ot Timok do

Vita, p. 73,

No. 300.

JWdL,p. 333, No. 1384.

The

theory of Hindu music acknowledges metric patterns, or angas, with one, two, three, four, and nine units of time.

seven,

Meter

2

1

meters are found only In isolated instances; in Bulgarian music, however, they are widely and consistently used. Bulgarian musicologists in recent years have written extensively on the unique rhythmic and metric patterns of their native music. Professor Dobri Christov, Dr. 16 17 Stoian Djudjev, and Vasii Stoin have done outstanding work. Dobri Christov (1875-1941) assumes that in Bulgarian music the sixteenth note 115

is

a basic time unit (the chronos protos of Greek theorists) and as such is indivisible. such notes result in one measure unit, which lends itself to a dance step.

Two

Three such basic time units result in an elongated measure unit, J*5""J - JX with approximately 400 sixteenth notes per minute. The relationship between the

(0

and the elongated measure unit ( JX) is therefore 2:3 (Irrational relationship). The elongation is mathematical and not agogic. Thus 5/16, 7/16, 8/16, and so on are merely results of the combination of regular and elongated measure units. Christov refers to the theory of Aristoxenus, and speculates on the origin of these metric groups as possibly being of Dorian, Phrygian, ordinary measure unit

)

18 Thracian, or Hindu derivation.

Stoian Djudjev (1902also takes as a point of departure the Greek theorists ) and philosophers. He maintains, however, that Dobri Christov's theory In regard to Irregular Bulgarian and Macedonian meters is based on a misinterpretation of the Greek terminology. Since the prime unit (chronos protos) Is a unit of measurement, It cannot possibly be altered from regular to elongated and so have different values within the same measure. This would be as impractical and as illogical as, for instance, stating the dimensions of an object partly In centimeters and partly

We may measure

by either system, but never by both at once. Thereof regular and elongated measure units, but only of regular and elongated beats. The basic unit of measurement remains the same, while the beat might change so that two or three measures in simpler meter make one measure of higher order, as ritmo di ire battute and ritmo di quattro battute (e.g., the development section of the Scherzo of Beethoven's Choral Symphony). And since even the most metrically complex measures may be broken in inches. fore,

concludes Djudjev,

it

we may not speak

down Into various combinations of simple duple and simple triple time, the Bulgarian so-called irregular meters are nothing more or less than various combinations of such meters, which could be Interpreted as ritmo di tre battute, ritmo di 15

Dobri Christov, Technicheskia stroeZ . (Sofia, 1928). Stoian Djudjev, Rhythme et mesure dans la musique populaire bulgare (Paris, 1931). 17 Vasil Stoin, Bulgarskata narodna muzika, .

.

16

18

Christov, op. dt.f p. 28.

Djudjev apparently refers to the conductor's beat, which, in fast tempo, he believes to correspond to a measure of either 2/16 or 3/16. He bases his conclusions, as does Louis Laloy (Aristoxene de Tarente et la musique de I'antiquite) on the distinction which Aristoxenus makes between xP OJf0i 18

wpovot (chronos protos, or temps premiers} and xpouot Troditjot (temps rhythmiques), the unit for measuring time duration. Aristoxenus further divides time into double (Sio^^os) and triple (rploTjfjiOs).

In the opinion of Djudjev, Dobri Christov

calls

a group of two sixteenths

JTJj

(

00

)

an

an elongated unit. But these units ordinary unit, and a group of three sixteenths ( ) cannot be used as measures of time duration, since they are not equal. Stoian Djudjev, Bulgarska

narodna horeografia

(Sofia, 1945), p. 215.

Meter

22

quattro battute > and so on. Viewed in this light, Djudjev concludes, Bulgarian meters would be easily understandable and there would be nothing irregular, irrational,

abnormal, or mysterious about them.

Vasil Stoin (1880-1939),

who

20

has compiled several of the most remarkable colby far the most reasonable explana-

lections of Bulgarian folk songs, believes that

tion of the

of the elongated metric unit found in Bulgarian folk

phenomenon

that Bulgarians naturally think in terms of phrases which are a combination of duple and triple meter. From the many examples in his Bulgarskata narodna

music

is

muzika, only four are given here (examples 15-18) to illustrate his point.

Example

15.

\^ & m\ & i

Each measure of

not

A

this

I

I

rJ

flf

[

It is

21

I

I

'-\

I

i i

g?

-HMf

^

.a

f^

di

f

f If


8

:: P* -

I

example may be divided into two measures, 2 +

3,

thus:

example 16 the pattern of 2/4 + 2/4 + 3/4 repeats This pattern is consistent throughout

difficult to see that in

consistently to form a larger structure of 7/4. the entire melody. (See also example 170.)

Example

16.

etc.

In example 17 the scheme of a 2/4 measure inserted between two measures of 3/4, thus outlining a metric phrase of 8/4, is obvious. The entire melody, consisting of twelve measures, consists of three

Example

A

is

thus divided into four sections

measures each, 3 + 2 +

A,B,C, and D. Each section

3.

17.

,

M.M.J=120 m

2

f'f\

Oide-v6i-ko

sfrto

me

mo-rish,

^ r

,Q,,

.

?

lir ne

shtomivra-ta

ot

-

vo-rish,

-

vo-rish?

D n>

r ii oi de-voi-ko

K

l!?"'3_

:

J

r

shto

me

mo-rish,

shtomivra-ta

The

love song in example 18 is logogenic (i.e., the music words), and, although the period is unmeasured, 21

Vasil Stoin, Bulgarskata

narodna m&zika, pp. 12-18.

ne is

ot

determined by the

Meter

the metric accents reveal the following scheme:

Example

19,

etc.

I

I

indications show, are sung rather slowly. Examples that But let us suppose, Stoin continues, they are sung much faster. Because of forced to group the various the difficulty in following the changes, the ear will be two different patterns. Just as 6/8 in rapid tempo becomes groups of three eighth assume notes each, so will the meters in the foregoing examples simpler forms. If 15-18, as the

metronome

the melodies in examples 15, 16, 17, and 18 were sung twice as fast, the duple meter would become one metric unit and the triple would become one and one-half, so that the signatures would read 5/8, 7/8, 8/8, and 12/8, respectively. The quarter note which was the basic unit of the measure would thus have been reduced by half. If we continue this procedure still further, we may reduce the note value will be the denominator which is most popular in Bulgarian again, and the result folk dances, the sixteenth note.

These three theories on the nature of the asymmetric meters in Bulgarian folk music should be borne in mind while examining the music itself. It is also imporfrom tant to realize that the already noted have resulted partially

complications the dynamic rhythms of the poetic text in Bulgarian and Macedonian folk verse. The language lends itself to irregular poetic scansions, and the relation of vocal to one another is naturally reflected in the musical notation. This is of syllables

course quite contrary to the prevalent Occidental practice, where metric structure is a much more is based on the whole note and divisions thereof. Measure, then, natural the from derived in fluid concept phraseology of Bulgaria, unity being and multidivision on built unit a from than the text rather plication.

rigidly superimposed will discuss here

The music which we

is

built

by addition

instead.

The principle of hemiolia, of lengthening the note value by one and one-half times the original time unit, was known to the Greeks and used in their paeonic meters. They borrowed this irrational relationship from their method of octave fifth resulted from the relationship of division, where the interval of the perfect and so on. Thus, pitch and time relations were founded on the identical printonal theory. is no common term for such meters in Occidental ciple. There 22 which seems Dr. Manfred Bukofzer has referred to such meters as "additive," an accurate and descriptive terminology. Bulgarian musicologists frequently call them "Bulgarian" meters, since Bulgaria is the only European country where these 3:2,

22

Statement

made

to the author by Dr. Bukofzer, Los Angeles, California, April, 1950.

Meter

24

23

metric and rhythmic forms are an integral part of a national art. Beia Bart6k, in his Mikrokosmos, uses metrical combinations which he terms "Bulgarian"; he is careful to avoid a numerator which is the sum of the total metric units per

measure, giving them instead in their additive form, as 2/8 + 2/8 + 2/8 + 3/8, 3/8

4-

3/8 + 2/8, and so on. Not only are the problems of

definitive descriptive phraseology involved, but difficulties of accurate notation. In a muchthe are further complicated by they has Alfred observed, "The map is not the territory statement, Korzybski quoted 24 it represents." Nor, even under the most ideal conditions, do the notes on music paper represent the exact idea in the mind of the composer. When the folk song is notated on paper, the several processes through which it must pass before it arrives between the lines of the music staffs make the agreement between symbol

and

even less accurate. time signatures to be discussed in this chapter contain many prime-number numerators, and may be divided into the following groups, determined by the position or positions of the elongated note within the measure. 1. Melodies with the elongated note at the end of the measure. fact

The

2. 3.

4. 5.

6.

Melodies with the elongated note at the beginning of the measure. Melodies in which the first and last notes are elongated. Melodies in which the elongated note appears within the measure. Melodies with more than one irregularly distributed elongated note within the measure. Melodies with combinations of different asymmetric measures.

ELONGATED NOTE AT THE END OF THE MEASURE

The

*

5/16 (

p

p

serves as the metric pattern for

")

25 popular and spirited dances, the Paidushka. This dance

(

SmS

mm +

)

23

Some

is

is

in 5/16

with the following additional groupings appearing frequently

within the measure: sixteenth

one of Bulgaria's most

sP

Jl

9

J~"J~i3

9

^

/5

J^,

J)>

J^

J^R

.

The third

heavily accented, giving the measure a feeling of 2/16 + 3/16.

Among

of the dances of other Slavonic countries resemble certain Bulgarian dances in metric

formation.

Thus

the Czech Strashak Rhythmic pattern

J J J J

Bulgarian Ruchenitza pattern

mazurka (rhythmic pattern

^

J7"^

|

^

,

J

J JJ

)

is

not very different from the

nor are the dance steps dissimilar.

J7""3

|

/^ /^ f%

|

The

X

Polish

II

)

resembles the Bulgarian dance, the Paidushka:

lnfact,n,any of the Chopin mazurkas are played with an elongated

asymmetric

first

or third quarter, thus almost achieving

effects.

Alfred Korzybski, Science and Sanity (3d ed.; Lakeville, Conn., 1948), p. 58. 25 From the Old Slavic paiddm, "to limp." The dancers bencl their knees as if limping. The dance which are more often than not accompanied by singing figures usually demand five-measure phrases, 24

and clapping of hands.

Meter the

25

melodies to which the Paidushka

many

(Here Comes

Example

Silly

lana)

is

one

of the

is danced, Ot dolu ide ludata Idna most widely known (example 20).

20.

M.M. J= 400

do-lu

Ot

x-y

p

The beats

i

-

de

J) and **

times the

first

-

da-ta

la

-

ua,

etc.

-^

5/16 in the Paidushka (

lu

) ,

is

a meter in

which each measure

consists of

the second beat being elongated to equal one

two

and one-half

Tunes which accompany the Paidushka are, for made up of five-measure phrases. The melody in example

(ratio of 2:3).

choreographic reasons, 20 consists of four-measure phrases only; therefore, Dobri Christov has proposed a two-measure extension between measures four and five.

Christov quotes the melody in 5/8 instead of in 5/16. In a moderate tempo, quintuple meter (as 2 -f 3) is found also in Turkish music, where it is called usul tiurkaksak.

During the first few years after liberation from the Turks, many of the musicians prominent in the musical life of Bulgaria were imported from western Europe. Collections of their notation betray a lack of understanding of the principle of The Paidushka has been notated in 3/8 frequently, as in example 21.

hemiolia.

Meter

26 Example

21. etc.

20 on superficial This version may appear similar to that in example 16 a dactylic measure 2/16 + 3, but the second notation does, nevertheless, change demands. the meet does not choreographic 3 r 24/8 into a tribrach, which old ritual and religious The 5/16 is also the metric signature for a great many falls in the latter category. 22 carols. Christmas Example songs, especially

Example

22.

Tebe peiem, chorbadzine (We Sing

Sta-ni

ni-ne,

go-spo

-

di-ne,

to You,

Our Master).

26

dzi-ne. pe-iem, chor-ba-

te-be

use the identical metric pattern, In different parts of the country, dances which J>. = 70 ) and Kldteno horo but in other tempos, are known as Zad-Krdk (

(NX =40).

,

tempo J -200) is used frequently, and does not differ from the 5/16 pattern, of which it seems to be an augmentation. The essentially difference between the two is in the number of accents contained within the meas-

The

5/8 in moderate

ure: 5/16 has only units,

one of which

two accents is

J*-)? whereas in 5/8 there are four stressed

(H

twice as long as the others:

J^J^J

J^J^J^J

(

J^J^orJ

J^J^J

note equals two eighth notes (J

-

J^

).

J^J^J^in

each the quarter

In 5/16, on the other hand, the

rela-

The percussion beats in the accompanying diagram JX). between the two meters. the difference further illustrate tionship

is

2:3

Melody Bass

drum

(

5

J\o

J>

J)

^

J

,

Jl

j>

J) etc..

8,

LJ* LJL-T 'C-T C-JU"

n.

Melody Bass

drum

etc.

16

The 7/16 vorite national dance, the

serves as a metric

Ruchenitza* Virtually

within the measure: J> J> Jl 28

,

J>

fl Jl

,

all

framework

for Bulgaria's fa-

metric variations are possible

J~)

&

,

fl /3 fft

,

Ivan Kamburov, Bulgarski narodni pesni (Sofia, 1940), p. 18. 27 From ruchenik, "a handkerchief." A solo dance or one executed by couples. It is accompanied by joyous motions of hands and body. One of the dancer's hands is placed on the hips, while the other waves a handkerchief. Thus, Ruchenitza, "a handkerchief dance."

Meter

27

and

so on. In all of them, 7/16 is a triple meter, with an elongated last unit which receives the strongest accent in the measure. The melodies in this group ordinarily consist of four-measure phrases.

There are a number of popular melodies to which the Ruchenitza is danced. Example 23 is one of the favorites. The percussion instruments emphasize the first, third, and fifth sixteenths of the measure, or the three distinct beats.

^

^ > J

]3 i-l-J is

I

J

It is interesting to note that, although the septuple meter with 2 + 2 + 3 grouping used in distant Oriental countries, it is totally unknown in the music of countries 28

contiguous to Bulgaria Yugoslavia, Greece, and Turkey. The Serbian composer G. Marinkovich, for instance, gives the notation of the Bulgarian folk song / dz beh ednd na mdika (I Too Was the Only Child of My Mother) 29 in 3/4 (example 24) instead of in 7/16, as in example 25.

Example

24.

A

Example

,

Lively

25.

I

az

beh

ed - na

na

mai

-

ka

The notation of example 24 displays a total disregard of the principle of hemiolia and shows no awareness

of Bulgarian rhythmic, metric,

and

linguistic peculiarities.

altogether incorrect to change a three-measure phrase into a phrase of two measures, because, first, the setting becomes entirely melogenic, that is, the melody It is

is

treated independently of the words. 28

According

to

also speculates

poetic stress

falls

on the adverb

i,

and

is found in Russian songs of Tartar origin. He and Hindu origin of 7/16. Christov believes that the Bulgaria from the Orient through the Turkish -Tartar tribe which

Dobri Christov,

on the

The

this

metric pattern

possible Egyptian

Ruchenitza might have come to came to the Balkans with Isperikh in the seventh century. Christov, op. tit., pp. 31-32, 29 This melody was taken from the collection by Franjo Saver RunaC, Sudslavische Volkslieder (1885), pp. 30-31.

Meter the preposition na ("too" and "of"), hardly important enough to merit special emphasis in the sentence, "I too was the only child of my mother." Even if the i were misconstrued for its homonym, which means "and" (as it might easily be

misunderstood by those who are not intimately familiar with the language), the emphasis would fall on the wrong syllable. The melody in example 25 follows natural speech, with the stress falling thus:

u

u I

The word

u

u

%J

beh ed-nd na mai-ka.

az

mdi-ka, in the third measure, with two stressed syllables, has been

so that the syllables will receive the

two strong

beats:

J)

^sft

mai

But the

first

syllable requires a

not necessarily a stronger one.

somewhat longer

stress

set

J).

-

ka

than the second, although

And since in 7/16

the elongated third beat is accented the inevitable one tying the first two eighth notes

most, the logogenic solution is of the measure in order to balance the poetic with the metric accents. The poetic strophe consists of eight syllables, not 5 + 3 as example 24 indicates, but 3 + 3 + 2.

Second, the dance figure would require three measures instead of two. Therefore, a setting like

3/4

J

J

would

beh

az

I

U

J

-^

J

J

-

ed

-

na

na

N mai

J -

J ka

have met the choreographic demands, where Marinkovich's

at least partially

setting does not. Dr. Peter Panoff does not 30

come any closer to interpreting the Ruchenitza rhythm Like Marinkovich and the Czech musicologist Ludvik Kuba, 31 Dr.

authentically. Panoff shows that he

is not acquainted with additive meters as practiced in Oriental music. Thus, in his study on Bulgarian rhythm and form, he has notated the Ruchenitza in 3/8, as in example 26, instead of in 7/16 (example 27). Pan6ff's

Example

26. etc.

Ot

Example

do

-

1ft

i

-

de

ma -mo mom -che

lin

-

che,

etc.

study of Bulgarian folk music seems to lose some of such obvious deviations from fact.

In some parts of the country

this

dance

is

its

known

authenticity in the face of

as

Obiknovenna (ordinary)

und Kirchenmusik," Handbuch der Musikwissenschaft The melody was taken down apparently from records available at the

Peter Pan6ff, "Die Altslavische Volks-

(Wildpark-Potsdam, 1930). time at the Staatliches Phonographisches Archiv-Berlin. 81

-

27.

s 80

do

Ludvik Kuba, Slovanstvo ve Svych Zpevech (Prague,

n.d.).

Meter

29

or Zenska (feminine) Ruchenitza. Other folk dances which employ the same metric schemes are Chepnitza, Povurnato horo, Vetrensko horo. Not all melodies in 7/16 are dance settings; many religious folk songs bear this time signature. The Christmas carol (example 28) is based on an old folk legend.

Example

Samodiva grdd gradila (A

28.

Built a City). 32

Nymph

Ruclienitza tempo

Ko

Ko

The 9/16

-

le -

-

le

do

-

do

le,

-

mo

ba

-

ne,

Da-ne

le,

mm mm mm

(

Sa

f*f

is

)

-

di

-

va

grad gra

Dan voi-vo

-

da,

Ko

-

-

di

le -

-

la t

do*

one of the most commonly used meters in

Bulgarian music. (See example 29.) Its origin is undoubtedly Oriental. It is found in Turkish music under the name aksak. 33 In a slow tempo 9/16 serves as the metric

danced by wandering gypsies. nine equal notes within the measure are not grouped as a

basis for the Kiuchek,

The

pattern

(

JjJ JjJ JJJ

four beats with an elongated effect of

and

3/8 + 3/16: J

fifth sixteenths.

(

Example

j

J

but

as 2

+2+2+

last beat.

The

strong accent

)

3,

compound

triple

which makes a measure of

?

JjJ

;

falls

on

there are weaker accents

seven, giving the

on the

first,

third,

Other possible interpretations are 4/16 + 5/16

/J /J Jd jJJ :

and

4|/8

JjJj-

).

29.

Background rhythm

Dance step Conductor's beat

Jf)

J*)

Ji

1234

The graphic presentation of the conductor's beat will further simplify the concept of the subdivision which makes the 9/16 a measure of four or four and a half beats rather than of either three or five. (Diagrams of conductor's beat are given only where metric structures are unusual.) 82

Kamburov, op. cit., p. 39. There are three types of aksak in Turkish music: agur aksak, orta aksak, and slow, moderate, and fast. Djudjev, Bulgarska narodna horeografia, pp. 262-263. 38

iurtik aksak

Meter

*,*

The attempt 3

J 1

J

^"2^ J J

to interpret

J*

*s

9/16

as a

syncopated regular triple meter

not accurate, since the dance demands four, instead of three,

3

J J . It is also logical to explain an unusual pattern like 4-|/8 the through principle governing alia breve; if 4/4 meter could be accelerated to or two beats to the measure, and 6/8 to two beats to the measure, it is at least

steps:

,

(j;

possible that a

measure of nine, similarly

treated,

would

result in four

and

a half

beats.

Pan6ff, in the study mentioned, gives a metric signature of 5/8 to the folk tune Boll Idna belo gurlo (lana/s Fair Throat Aches).

Example

30.

Bo-li

Having

la-na

be-lo

gtir-lo,

be-lo

gur-lo

med-jan gar-no.

measure consists of nine rather than ten basic give an altogether inaccurate version of the folk

failed to realize that each

time elements, Panoff proceeds to song, depriving it of all the charm,

vitality, grace, and distinction which the authentic asymmetric structure contributes to the simple melody (example 31).

Example

31.

JI(T

Meter It will readily to,

31

be seen that the notation in example 30 is as different from, and the actual folk song as it would be to consider the paeonically

inapplicable conceived 9/16 as three groups of three. The confusion in the notation of example 30 is not uncommon. It must be remembered that there are many Bulgarian folk

songs that are notated in 5/8, in moderate tempo. That notation is not much different from that of the Hymn to Apollo or from the notation of the Greek song in

example

32.

Example n

32.

Song

to St. Sofia

u Minologa.

S

As in the famous

Hymn

to

Apollo, the Scmg to $. Sofia Minologa contains four

syllables in each measure, rarely three or five. The difference between the Greek and the Bulgarian quintuple meter lies in the position of the three eighth notes

which assume the

may appear folk music

either at

it is

an elongated unit. In Greek music that elongated note the beginning or at the end of the measure, but in Bulgarian

role of

generally at the end. Thus, 5/8

may

easily

be confused with 9/16:

The

9/16, then, differs from the 5/8 meter only in the last group, there being one sixteenth less in 9/16 than in 5/8. And it is that one sixteenth which changes a

measure into a measure of four, or, to be exact, of four and one-half beats. Dances in 9/16 are executed by two rows of dancers forming straight lines which face each other, with the columns advancing and retreating as the dance steps change, moving swiftly to the right at the end of each phrase. In tempo

five-beat

M.M. H = 320 -420 the horo is known as Radomirska igrd, Tropliva igrd, Hoiisa. 5 In certain parts of the country it is called Ludoto, Povurnushka, Izrichdnka.* ,

The

11/16

J^

^ ^

4*

J^

is

quite similar to the 9/16 meter of

the previous section; an additional group of two sixteenth notes is inserted before the elongated unit. Such a combination is by no means theoretical; it is found in folk songs in Bulgaria and Macedonia, although it is less another 11/16 pattern with different grouping. (See example 42.)

many 34

i

Dobri Christov, "Ritmichnite osnovi na narodnata ni muzika," Sbornik za narodni umotvorenia

narodnopis 35

common than

(Sofia),

Vol.

XXVII

(1913), p. 41.

Djudjev, Bulgarska narodna horeografia, p. 265.

HF

r

F

:

"

^

:

j>

Each measure here consists of five beats, of which four are of equal value and the last is one and one-half times longer. Again, the chief stress falls on the last beat (the ninth sixteenth note), while the second, fourth, sixth, and eighth six-

The remaining sixteenths are rhythmically The combination may be viewed as 2/16 + 2/16 + 2/16 -f 2/16 + 3/16 or as

teenths receive secondary accents.

weak.

The ing of (

j

$ $ /

y fLfbe y y seems

13/16 meter all

those treated thus far. It

Jj

J

:

J J^ ^ k u t

to

/'

one of the most

is

fascinat-

a combination of 4/8 4-5/16

since the strong accent falls

on the

sixth rather

than on the fifth beat, such a subdivision is not altogether convincing. A dynamic folk dance in this pattern is Mama, mila mdmo (Mother, Dear Mother, Who Knocks at the Gate?).

Example

34.

3^

E r

(or:

Ma- ma, mi

-

la

ma

-

mi

-

lo

che

-

Tzo- ne

koi koi

mo, do,

chu chu

-

-

ka ka

na na

p6r por

-

-

etc.

ti,

ti.)

Because of its unusual appearance and nature, melodies in 13/16 have often undergone a slight change while being notated: the elongated note is treated as a group of four sixteenths. Such further stretching of the already elongated eighth results in a

measure of 7/8 J

the last three notes

which

is

J

_

J^

J

w ^^

an

i rr

^g u l ar grouping of

altogether foreign to Bulgarian music.

curiously enough,

is

not

found independently as a metric scheme for an entire song. In a few examples, however, it is combined with other asymmetric groups, chiefly with 9/16. In all instances the melodies begin with 15/16, and the 9/16 is of the type in which the hemiolic unit appears at the end. (See example 35; notice the unusual treatment of the paeon ic beat in measure four.)

Meter

33

Example 35. Sung by Vata Matkova, 75; Tota Velkova, 60; Ignata Prokopova, Mina Tzanova, 70; of Dolni-Lukovit, Orehovo, January, 1928. 38

ka

Tfin

in - ze

-

mi

za

ia

P. E, Stefanov.

za

The

Sung by Todora A.

36.

Example

ze

-

17/16

-

-

ram - chi

Ilieva, 45, of

87

se

ni

Mar

-

ia

as in

.

example

ko

pod

)

Ea cd Bl Ba

sSs

35,

or

it

may

alternate

PrauMa, Belogradchik, September, 1926.

(

CS3

and

pfisli-ka

The 15/16 may either appear only once, with 9/16, as in example 36. Notated by

55;

-

mo

-

raf

-

ko.

metric signature

is

very

B3 Bsca

example quoted is the only one that I have found in print. It taken from Vasil Stoin's Bulgarskata narodna muzika. The other Bulgarian musicologists do not even mention this metric combination. The measure consists rare; in fact, the

is

of eight beats, the strongest emphasis being on the

Example

last

one (example

37).

37.

t

J>

tOlJ*

^

Ve-no ga-lie-na, Vd-no le, Ve-no ga-lie-na. le, ELONGATED NOTE AT THE BEGINNING OF THE MEASURE

Ve-no

The 5/16

(

t

)

pattern with the elongated note at the beginning

is

much

r~*m*m*mm

less

common

than the one given in the previous section, where the order of the results in duple meter, with

grouping was reversed. Here again the metric scheme strong 80

first

Stoin,

and fourth

Ot Timok do

"Ibid., p. 186,

sixteenths (example 38).

Vita, p. 897,

No.80L

No. 3369.

Meter

34

Example 38. Poshli devoiki na sechki (The Maidens Have Gone to Gather Firewood). Sung by Maria Ivanova, 60, of Kladorub, Belogradchik, December, 1926. Notated by P. E. Stefanov.

38

Lively

&

fc=E* Posh-li

The 7/16 example

( i'

sech

-

etc.

ki,

the metric framework of the

especially popular in Dobrudja.

is

39

Muzki ruchenik,

Another interesting example

39.

same meter

Example

na

m f p f 9 p) ;

39, which,

Example

of the

de -voi-ki

40.

is

the song for rain (example 40).

Sung by Gena Vluchkova, of Borovan,

Bela-Slatina,

December, 1927. 40

M.M.J ^-=50

Po li-va-di

po gra-ma-di,

Bo-e

dai

diish,

dai Bo-ze

dtish.

In western Macedonia, songs in 7/16 are performed in somewhat slower tempo, such meters exist in Albanian music possibly reflecting Albanian influence, since half as in as fast executed but are Bulgarian music. Frequently, melodies only which are in 7/16 meter are erroneously notated in 7/8. The adjustment is made while setting the initial tempo; the results, therefore, are identical. This practice is

widely accepted in choral music, where 41

The Makedonsko horo with

its

it is

lively steps

believed that 7/8

and

is

intricate figures

easier to read. is

among

the

most graceful of all Balkan dances. Example 41 gives one of the many melodies * Example 41. Makedonsko horo. 4

M.M. 4^=240

etc.

88

Ibid., p. 54,

No. 211.

is also known as MuZka Ruchenitza, a Ruchenitza for men. Dobrudja is a region in the northeastern part of the Balkan Peninsula, bounded on the east by the Black Sea, on the north and west by the Danube. It has been a disputed area between Bulgaria and Rumania for 88

The Muzki ruchenik

many years. 40 41 42

Ot Timok do Vita, p. 199, No. Macedonian national dance.

859.

The

tekna, Pileto

Stoin,

group.

national dances

Mori shto mi

mi pe, and Kovaddrche belong

to the

same

Meter

35

Music written in septuple meter, asymmetrically grouped, is also Turkish (usul devr-hindi) and in modern Greek folk music. However,

for that dance.

present in it is

only in Bulgarian music that 7/16 with

The

11/16

(

W fm Ip

Tm

{T*

btrtrtrb

)

M.M. is

H S 400

is

found.

a q uintu P le meter with only one

note. In the Christmas carol primary accent, which falls on the dotted eighth are third and second the consistently connected for poetic eighths (example 42) four contains measure each hence reasons; syllables. only of MarashkiExample 42. Nadpevat se (The Singing Contest). Sung by43Ivan Anchov, 56, Trustenik, Pleven, March, 1928. Notated by P. E. Stefanov.

360

M.M.

-

Nad-pe

do

se

vat

dva

ko

slaf-tza

-

-

le

do

le.

much more common

than that described earlier. This grouping of the 11/16 is in this Of the many dances meter, the better-known ones in (See example 33.) and Gdninata mdika. The Bulgaria are Krivo horo, Haidushka igrd (Orhaniiska), a in is conductor's beat for this type of 11/16 diagram in order to clarify expressed the grouping.

FIRST AND LAST NOTES ELONGATED

The 8/16

(

J>f I

fjp

CB

t'l'iiilil

p'| I

"HI

f

).

meter

is

handled in Bulgarian folk music in a

I'ii'i'il"'"!

from the treatment in Western music, where very unusual manner, quite different a measure of 8/16 consists of merely two beats

a measure of three. 13

Stoin,

Thus

Ot Timok do

it

(

I

I *

forms a measure of triple time,

Vita, p. 30,

No.

126.

3

rfrT +2+

3,

)>

here

it:

*s

with accents on

Meter

36 the

first

J

and third beats

J'

J

This asymmetric grouping cannot and

should not be construed as a syncopated measure of four beats,

4

^2*.

=*

i

2+3

4

JTT15r"JT71 =-

5*

4

not only because it is confusing in appearance and inaccurate in feeling, but also because of the choreographic requirements, which, as in the 7/16 (examples 23, 25,

and

39), call for three steps.

have

is

as are

that

it

3/4 and 4/4.

Some

The

only virtue which the syncopated version might

displays a familiar time signature; otherwise the two are as dissimilar

The

pattern 2

4-

3

-f

3

is

also possible.

theorists believe that melodies notated in

8/16 (3/16 + 2/16 + 3/16) are in in meter in as 2 -f 4reality (3 2), examples 40 and 41. Although a melody septuple in 7/16 may easily be converted into 8/16 by merely the last elongating

eighth

and although occasionally the same song may appear in both forms, the grouping 3 + 2 + 3 is at least as frequent as 3 + 2 + 2. The diagram of the conductor's beat is especially helpful in illustrating the subdivision of an 8/16 measure, as it makes clear the triple grouping, with indications on the manner in which it may be conducted. note,

>,/,*

A measure

in 10/16

(

i* )

consists of ten sixteenth notes

of equal value,

grouped with an elongated eighth note at each end; thus the subThe strong accents are on the dotted first and last the weaker, on the second and third. A measure of 10/16 so coneighth notes; structed may easily be subdivided into two measures of 5/16 with the second division results in four beats.

j3

measure in rhythmic retrogression: J J J ** J"3~J is 43 taken from Vasil Stoin's example Bulgarskata narodna muzika, and was quoted from an unpublished collection of Dobri Christov.

repeating the

first

The melody

in

j

||

Meter Example

37

43.

j).

The

12/16

)

(

pattern

is

similar to the one above,

with one more group of two sixteenths in the middle. As the measure is rather complex rhythmically, the singers usually have some percussion, such as the tambourine, accent the background rhythm. A measure of 12/16 consists of five beats, the

first

and

last beats

The measure is Example

44.

having the strong accents. readily subdivisible into two groups (7/16 + 5/16), as example 44

Eleno

Ne ga-zi

mome

(Elena,

Young Maiden).

tre-va

le-na,

(se-no)

(le -no)

ne

gra-zi

tre-va

ze

(se-no)

le-na. (le-no)

Each measure consists of two patterns 7/16 (3/16 + 2/16 + 2/16), example 39, and 5/16 (2/16 + 3/16), as in example 22. A dance figure in this instance consists of six dance motifs, three in 7/16 and three in 5/16 repeated,

illustrates.

grouped

as in

so that the complete periods consist of twelve simple dance motifs in

all.

ELONGATED NOTE WITHIN THE MEASURE

The 9/16

(

This uneven formation of 9/16

is

similar

to the one given in example 31, but because of the placement of the elongated unit it cannot be considered to be a measure of four and a half beats, as in the first instance. The present metric scheme again gives us measures in asymmetric quadruple meter, but this time it would necessarily be conducted in four, as 2 + 3 + 2 + 2.

Meter

3,4,$ In example 45 45.

Example

it is

the second, paeonic beat that has the strongest accent.

Sung by Gena

Zao-bla-g-a-la

On rare

E-

se

se

zao-bla-ga-la

Vasileva, 25, of Tolovitza, Belogradchik, February, 1927.

E

-

leu-

-

len

ka,

ka y

che shte mo-*e -to

pre-plu-va,

che shte, mo-re -to

pre-plu

Zaoblagala se Etenka

Elenka had made a bet

Che shte moreto prepluva^ Za de-vet pola zultitzi Darove da si napravi, Ta mlada da se o2e"ni, i t.n.

That she would swim the ocean** For nine bags of gold coins So that she could earn a dowry, So that she could marry young,

occasions the two types of 9/1 6

(

J J> J> JX and

44

-

va.

etc.

P Jt J>

P) are

used in the same folk melody, with very unexpected and graceful results (example 46).

Example

46.

Sung by Nena

February, 1928.

P.

Nachova, 50; and Raina N. Ivanova, 40; of Rakita, Lukovit,

4'

ro

^^

r/J' P Trug-na-la chu-ma

o

-

di

-

da

mo

-

elm

la

"I&iU,p.807,No.3020. 45 46

The italicized lines repeat. Stoin, Ot Timok do Vita, p.

351,

po se-lai

ri

No. 1439.

-

ma

mo

- ri

po

-

gra-do

la.

-

ve,

Meter The

11/16

(

trtrtutrfr

39 This grouping

is

more frequent

than either of those given in examples 33 and 42. It again represents a measure of with the elongated eighth in the middle. The distribution, however, is

five beats,

not symmetric (4 + 3 + 4),

as

one might expect, but rather 7/16

(as

in

example 23)

and an ordinary subdivision of 4/16: 11/16: (2/16 + 2/164-

/l6)

+ (2/16 + 2/16) or (7/16 + 4/16)

There is only one strong accent, which comes on the elongated third beat. The dances for which 11/16 provides a metric frame recur throughout Bulgaria under different names.

The dance ishte, in the

given in example 47 is popular in the vicinity of historic PanagiurSredna Gora mountains, midway between Sofia and Plovdiv. This is

an important cultural center, and stands as a symbol of liberty in Bulgarian history. At Oborishte, in the near-by oak forest, the first shot of the April Rebellion was fired. (This uprising is also known as the Rising of 1876, or the Rebellion of Panagiurishte.)

Example

47.

M.M.

The

J>=

13/16

Krivo Panagiursko horo. Played by Pencho Pushtinakov of Panagiurishte. 47

340-380

(

So unusual

is

this

metric pat-

tern that for some time authorities doubted whether examples existed in Bulgarian folk music. However, in recent collections the grouping appears (example 48) as a sextuple meter with a strong accent on the second beat (third sixteenth note). 47

Djudjev, Bulgarska narodna horeografia, p. 274.

Meter

4o Example Stefanov.

Sung by Mladen Kartalev,

48.

34, of Berkovltza,

October, 1927. Notated by P. E.

48

.M.

Ac.i

Do-ma - ki

nu

-

m

domdoi-do-mo,

do-ma-ki

-

ne nai-do-mo

tm

MORE THAN ONE IRREGULARLY DISTRIBUTED ELONGATED NOTE WITHIN THE MEASURE

The

10/16

This

(

is

a quadruple measure, with

ea accents

on the

Example

49.

Sung by Nikola Dimitrov,

76, of

49).

Komarevo, Pleven, March, 1928. Notated by

48

P. E. Stefanov.

M.M.

s

Iz

The

two elongated beats (example

first

12/16

-

360

m -

iaz

dil

may appear

do

e

-

bur

iu

-

nak,

ko

-

le -

do

le

in two other forms besides the one in example 44:

Example 50 Example 51

A

measure of the former classification is obviously neither a compound quadruple (3 + 3 + 3 + 3) nor a compound triple meter (4 + 4 + 4). It is, instead, a measure of five beats, the second and last beats being hemiolic. The additive form, therefore, is 12/16: (2 + 3 + 2 + 2 + 3). One measure thus derived may be subdivided into two smaller groups, one of 5/16: (2 + 3), as in example 22, and another of 7/16: (2 + 2 + 3), as in example 23. There is only one accented beat in each 5/16 and 7/16; therefore, a measure of 12/16 meter, being a sum of these two, would have only two accented beats, the second and the last. The five beats of which a measure of 12/16 in this category consists may be presented graphically as 5:2(2+3) +

+ 2 + 3). In example 50 the complex structure is a direct result of the poetic text. The verb sedna, "sat down," and the noun momche, "young man/' may be pronounced 3(2

with the accent on either the dialects. Since this 48 46

Stoin,

first or the last syllable, depending on the regional comes from the northwestern song part of the country (city of

Ot Timok do

Ibid., p. 10,

No.

47.

Vita, p. 5,

No.

23.

Meter Ferdinand), the accent, as in literary Bulgarian, falls words, thus making the paeonic scheme necessary.

Example maidens of

50.

41 on the second

syllable of both

Sednd momche da vechera (A Lad Sat Down to Dinner). Sung by young Notated by P. E. Stefanov. 50

Vidlitza, Ferdinand, October, 1927.

M.M.P=:

p

Sed-na

sed

-

na

mom -che

da

ve

da

mom-che

-

che

ve

-

che

ra.

Sedna momch^ da veche*ra, Da vechera mrena riba,

A young lad sat down to dinner, A dinner of fresh salmon,

Mre"na riba morunova. Pa se setl za momite, Za momite na sednkia.

Then all of a sudden Remembered the party,

A gathering of beautiful maidens.

Pa si stegna vrano konche Pa mu turna sedlo srebr6,

With

Sedlo srebro, iuzda zvezdi, Pa ukachi vrano k6nche.

Pa otide pri momite, Pri momite na sed^nkia, Ta si r^che: "dobur v^cher, D6bur v^cher, malki momi." "Dal Bogdobrd,

mMdo momch."

He saddled his horse swiftly his saddle

made of silver,

Grasped the reins that shone

And rode off into

like bright stars

the dark.

To the party he rode swiftly, To the party of young maidens, Where he called, "Good evening to you, Good evening, young and pretty girls." "May God bless you," they replied.

This love song (example 50) relates colorfully an ordinary event in the village, from the male point of view in this instance. The first stanza immediately focuses the attention of the listener on the forthcoming sedenka (party, working bee) which he considers important enough to forego

his delicious

"dinner of salmon, dinner

of codfish," as the original reports. The action is accelerated in the second stanza, but when he arrives at the party nothing startling or dramatic happens. After the

suspense of a hurried departure, he merely greets the young ladies, in reply to which they utter "May God bless you." The understatement here is most effective; behind it lies the thought that the lad is well thought of by the young ladies of the community and that he is joyously received in the gathering. The song implies an entire evening of song, laughter, and gaiety, worth many times the sacrifice of his fine dinner.

The

distribution of the hemiolic beats within the measure in the second type of meter reverses the order of the subdivisions: thus 7/16: (2 + 2 n- 3) is followed 12/16 -f by 5/16: (2 3), and the five beats may be subdivided into 3 + 2. The stress falls on the third and fifth beats (See example 51; notice the unusual treatment of the first

elongated beat in measure 80

J&tU, p. 448, No. 1758.

six.)

Meter

42

Example 5L Played by Tzeno Dinolov, 67; 44; all of Novo-Selo, Vidin, September, 1926. 51

and Marin K. Tutzov,

14/16 appears in two groupings:

Examples 52 and 53 Example Ktila.

56;

A 460

HOC.

The

Nashko Pervulov,

Koi

52.

ti

Each measure in

illustrate these sextuple combinations.

kupi?

(Who Bought You

From

the Pretty Present?).

Tzar-Petrovo,

52

M.M.

J's

Koi

304

ku-pi Ve-lo

ti

svi-le

-

no

ba-ri

-

shche, svi-le

-

no ba-ri-shche.

example 52 may be subdivided into two groups: 5/16 (2/16 + 3/16) and 9/16 (2/16 + 2/16 + 2/16 + 3/16), corresponding to examples 20 and SI, respectively. The accents fall on the second and last beats, thus: E53 1

Example

M.M.

53. Alt

J^r

V

V

V E"

V

2345

TI

'

C3

BBJ

B3

*

**

f

6

kdnche vodi (AH Leads His Horse). 58

304

A-li kon-che

^

\i

vo-di

iz rav-ni

dvo-ro-ve,

iz rav-ni

dvo-ro-ve

The

subdivision in this instance is in reverse order, 9/16 + 5/16 instead of 5/16 + 9/16 as in example 52. In example 53 the fourth and the last beats are accented. The 19/16 is a much more complex meter than any thus far discussed. As in

Hindu music, where a vibagha (metric pattern of an entire period) consists of several angas, so in Bulgarian folk music a measure of 19/16 constitutes a musical sentence consisting of three smaller groups of 7/16, 3/16, and 9/16. The last group, of the variety discussed in connection with example 31, may further be subdivided 51 52

Ibid., p. 1088,

No. 4075. The horo Gdnchitze is danced to No. 35.

Stoin, Bulgarskata narodna muzika, p. 29, 54 Ibid., p. 30, No. 36.

this

melody

also.

Meter into 2/8 (2/16 + 2/16) and 5/16 (2/16 strophe of the text (example 54).

Example

54.

3/16).

A

measure of 19/16

sets a

complete

Kiten Dever (The Adorned Brother-in-Law). Sung by Arso Nestorov, of

Dzeraienitza, Debur.

Vivo

5*

.i&ft,

"Ki

mi

koi

+

43

ten

na-ki

tol-ko

te

-

-

ml

ti,

ki-ten

ta mi te

de

ve

-

-

tu-ka do-pra

re,

-

ti

112

u

na-she

se-lo

za

mo - ma?

u

za

na-she se-lo

mo

-

ma?'*

tune in example 54, known also as Deversko horo (brother-in-law's dance), The ballad describes a local wedding custom. especially popular in Macedonia.

The is

brother of the prospective groom calls on the bride-to-be before the wedding ceremonies and brings her presents. Often this visit is the first official news of the romance, which might have been kept a secret for many months. Even if the girl to live in another village a few kilometers away, the emissary covers the

The

happens

distance afoot. In Bulgaria, walking has been the favorite

mode

of transportation

for centuries.

"Kiten mi kiten devere, Koi mi te tolko nakiti, Ta mi te tuka doprati tr ndshe selo za moma?"

"Who

D^verche veli gov6ri: "Dev6ike mori, dev6ike,

"Maidens, maidens, young and pretty/ Deverche replied a-blushing, "I have at home a younger sister, It is she who did adorn me."

Imam si sstra p6-mala, Ona me tolku nakiti."

AH si bilo u g6ra, li si

g6rsko

tzve*ke,

"G6rsko tzv^ke, zel
li si

vito v^nche,

forest flowers?

"Forest flowers, fresh geraniums? Did you make a wreath of flowers

For your brother's chosen beauty

Snaitza da

To wear on her dark hair?"

D^verche

si

nakitish?"

v^li gov6ri:

G6re v gora, mali m6mi,

Ta nabril sum gorsko losif

Did you pick some

Vito ve*nche na snaitza,

"Ta 6dil sum, mali m6mi,

54

Among our village maidens?"

Said the maidens to young dever, "Dever, young man, adorned dever, As you crossed the shady forest,

Devolki velat govoriat: "Kiten mi kiten devere,

Nabral

has adorned you so lovely, Adorned you, deverche, with flowers, And sent you to choose a young bride

tzve*ke,

Cheshmedjiev, Bulgarski Makedonski pesni

"Maidens, maidens, young and pretty,' Deverche replied a-smiling, "Yes, I crossed the forest, maidens,

And I

picked some forest flowers,

(Sofia, 1926),

pp. 32-33.

Meter

44 "Gorsko

Ta

"Forest flowers, fresh geraniums, And I made a wreath of flowers

tzve"ke, zele"n zdravetz,

uvil

sum vito venche,

my brother's chosen beauty To wear on her dark hair."

For

Vito venche na snaitza, Da nakiti moia snaa."

Of

the -many

COMBINATIONS OF DIFFERENT ASYMMETRIC MEASURES a few of those that are most typical and varieties, only

given here (examples 55-58).

Da sum

55.

Example Slatina,

zndila

The

(Had

interesting are

various metric combinations thus obtained are of BelaKnown). Sung by Tzeno Lilov Begovetza,

I

December, 1927 .* .rt:

Dasumzna-i-la

che da-lek da

Example

-

zna-i

s

na sa-bergo-ra

be-g^a -la

sum

sa-be

che shte se s li-be

la,

ze-le

-

-

ra,

na.

Pod drena (Under the Dogwood Tree). Sung by Mladenka Vankova, of 59 March, 1926. Notated by Ivan Kamburov.

56.

Izvor, Vidin,

M.ML J\ 320 jKl

T

""*

'

f

U

Pod dre-na

ft Ji

Ji

J>

Tor

>'

o

t ba

J -

dul-mish,

t

Jr-Jr-jr

20, of Beli-Mel,

J\

|

~ etc.

Ji

J>

Ferdinand, October, 1927.

f strun

ma

kia

f

zan klutz-niak drun-dar (Stoian

-

ski,

.

-

-

be.

Was in Debt). From Krusta, Lukovit.58

M.M.J1304

Sto-ian

za-bor-chlia,

Stoin, Ot Timok.do Vita, p. 928, No. 3521.

.Ql^No. 58

b ei ol-mish

57

I

f

li -

Za-dul-2a 55

Ji |

Example 58. Zadulzd Stoidn A

J>

se-dut,

i

Sung by lordana Vurbanova,

-

~^

"

Laaaj

-

|

P. E. Stefanov.

:

^~^

""^

''

j,

57.

Example Notated by

f

ter-zi

3435.

Stoin, Bulgarskata

narodna muzika,

p. 74,

No.

184.

pet-de-se

i

pet

i-lia-di.

Meter

45

due to the variety of dance steps and figures, or, when those songs are not derived from dance motifs, they are grouped in these unique patterns because of the lyrics.

The preceding illustrations demonstrate how painstakingly accurate the Bulgarian and Macedonian folk have been in adapting the music to the metric requirements of either lyrics or dance steps. For that reason it might seem desirable to many of these songs as one measure for each phrase. The metric signatures thus obtained (and there are examples of each) would be most extraordinary: 18/16, 20/16, 21/16, 23/16, 29/16, and others. Most of these meters seern strange, and for an Occidental musician they are. But they are not so strange today as they were before the turn of the century. Stravinsky,

notate

Schonberg, Bartok, and others have made it possible for most musicians to admit new metric and rhythmic groupings into the vocabulary of daily experience. Unlike his colleague of one hundred years ago, the twentieth-century composer has adopted various technical devices which present certain problems Milhaud in polytonality, Schonberg in the manipulation of his own passacaglia-like Reihe, Scriabine with chords built on fourths, Debussy with strange scales he learned in Russia.

Schonberg and Strauss introduced and developed complexity of rhythm, foreshadowed by the restlessness of Brahms' syncopation. Stravinsky set the musical world on fire almost half a century ago and the smoke has not yet cleared. He introduced, among other things, varied rhythms and meters which gave his music an exotic quality, a quality perhaps not all his own but inspired by Russian folklore and the works of Moussorgsky and Rimsky-Korsakov. Milhaud, Stravinsky, Bart6k, Britten, and their contemporaries no longer consider the bar line as a solid stone wall over which one must climb, to land heavily on both feet on the other side. They have worked in a new direction, toward rhythmic virtuosity. But there remains a wide range of metric and rhythmic devices to be explored. The alien metric patterns in the works of these composers are usually short-lived within the entire structure of a given composition, but the fact that contemporary composers have been reaching toward new and experimental

usages of rhythm is in itself significant. In Le Sacre du print emps [score no. 41] Stravinsky has used 9/8 as an asymmetric structure,

first

as

4/8 + 5/8 and then as 5/8 + 4/8. I

J J J J J

IS-t-

-

J J J J J

In Jen de cartes the paeonic conception of a septuple meter ways: 3/4, 3/8 (two measures before 10); and 7/8

is

.etc.

expressed in two

Jj Jj JJjl

(two measures after II), with instructions in the score: battre a 3. In the same work, two measures before 11, we find the two asymmetric measures in succession.

in battre

These two measures

nm\*n n n

a3

y

battre a

4

m

are obviously based on metric patterns which are identical 31, as the last three eighths in each measure are not

with those in examples 23 and triplets.

'

Meter

46 For the "Third Negro Dance" in

his Legend of Joseph, Richard Strauss accomthe additive plishes septuple feeling by breaking down a 7/4 measure into two measures with different metric signatures, composing his musical sentence of two-

measured phrases:

*!

J

H

J

J

_

, i

J

|J

J.

i

_|J

i

J

J

etc. | i

In Tz'ZZ Eulenspiegels lustige Streiche (main subject), he again achieves an asymmetric septuple formation, or a triple effect with a duple meter, through syncopation.

g 7

n

-h

j^ji /i JT3jy>

This passage would, however, be

much

clearer

if

etc.

notated in 7/16.

Tibor Harsanyi, to escape the squareness of the 4/4 and 3/4 meters in his Violin Sonata, adds 1/8 to each measure.

JTT3J

J

J

J

Ernesto Halffter simply follows a 4/4 measure with a 3/8 in his Sinfonietta. score of Stravinsky's Dumbarton Oaks Concerto includes a similar treatment:

The

o

a '

/H \3 ffi

and

later

lo

o J=3 :/3 ID

:

J3 j/79

the latter with instructions for the measure to be performed "in four." In the Sonata for Flute, Oboe, Clarinet, and Piano, Darius Milhaud used a direct i**. approach four and a half beats:

4

Bassline

.H


In his Airplane Sonata, George Antheil uses asymmetric rhythms throughout the movement. He indicates that the measure of 3/8 which follows a measure of 1/4 in the opening is not a triplet. Then follow such metric changes as 6/4, 7/8,

first

and later, 19/8 (4 + 2 + 5 + 5 + 3), 8/8 (1 + 2 + 3 + 2), 10/8 + 4 + 6), 16/8, 12/8, and so on, in a perfectly coherent metric sequence which makes the entire movement of this sonata as logical as it is free. At the tempo indicated, as fast as possible, the eighth notes have the time value of sixteenths, making the signatures no different than those discussed previously in 9/8, 5/8, 4/8, 3/8; (3 + 2 + 3 + 2), 14/8 (4

this chapter.

The

chorale in Virgil Thomson's Sonata da chiesa, among others, makes use of 5/4, 7/4, 9/4, and 10/4, but, as in Antheil's piano sonata, no one metric pattern is sufficiently established. This is true also of Elliott Carter's Piano Sonata and Sonata for Violoncello and Piano, and Aaron Copland's Piano Sonata and El Salon Mexico. One of the most effective uses of asymmetric meter in music is

contemporary

the round,

"Old Joe has gone

metric signature (

J

-f

d

+

is tJ

fishing,"

7/4, but with ),

M.M. J

from Benjamin

an indication that =

266,

The

Britten's Peter Grimes,

The

be interpreted as triple meter feeling of three and a half beats per it

Meter

47

not possible to divide seven by two in any other way. Any attempt to conduct this round in seven at the indicated metronome marking seems absurd.

measure in

this instance is inevitable, as

it is

As the ideas of the modern artist gradually become more complex, so must his tools change. Meter should take its place with the fast-advancing concepts of interval and tone relationships, form, and color. If the accepted idea of mensural notation must give way to a pattern or patterns which are the result of newer logic, then the freedom and flexibility of the asymmetric metric patterns presented well serve as a starting point. The composer of today should seek new which will best serve his purposes rather than limit his expression by predetermined devices that may have outlived their usefulness.

here

may

devices

Some professional musicians contend that metric schemes such as those quoted from contemporary music are abstractions, that they are unnatural and worked out on paper mathematically, and therefore serve no special function, tending to detract from rather than add to the music. The Bulgarian folk singer does not achieve his complex metric signatures through any process of abstraction; his asymmetric meters and rhythms are, on the contrary, quite natural and functional.

Not only are they natural, they are an inevitable method of setting his folk poetry and accompanying his dances. The musician, therefore, with far wider musical experience than the peasant, should have no insurmountable difficulty in assimilating the unlimited riches of these new metric possibilities. An open mind, in fact, is the only prerequisite.

UNMEASURED METERS Many colorful Bulgarian folk songs cannot be represented by any of the metric devices hitherto mentioned. Their construction, like their interpretation, is altoThis gether free; hence they are best suited to solo rather than to group rendition. at and harvest iunak of is made songs sung songs, songs, (hero) category up chiefly the dinner table, dealing with food, hospitality, and related subjects. The melodies move within a limited ambitus,, often repeat one degree of the scale, and usually are highly decorated. Syllables which are not a part of the text

are frequently added either at the beginning or at the end of the musical phrase or within the period. The folk tune in example 59 belongs to a large group of harvest songs sung in Shaitanova, Vanka Popova, Example 59. Harvest song. Sung by lordana Antonova, Maria 59 Maria Dimitrova, and Maria Toneva, of Iad2ii, Svishtov.

r "~'

Ma-ri

E

-

16

no,

trug-na-la mi e

E-

le

-

na.

the evening. Rich ornamentation is characteristic of such work songs. Not all melodies of Bulgarian folk songs are short. good many make use of stanza each with that brief melodic fragments (examples 119, 133, 163, 183, repeat

A

59

Stoin,

Narodni pesni

ot Sredna Severna Bulgaria, p. 147,

No. 370.

Meter

48 but many melodies

185), this point.

Example

60.

set

an entire poem. The hero song In example 60

Illustrates

lunak song. 60

M.M.
Su-bra-li

Hei!

de

na

na

-

in

set

I

-

I -

-

na

-

ka ?

mi

sa,

dor

se-dem-de

Pi

rin

rin

Pi

-

rin

pla-ni

-

na,

-

set

rin

-

se-dem-

dor

pri-bra-ii

i

pla- ni

se

-

-

na;'

ra-vni-

hai-dush-ka- ta

na

be

-

she

voi-vo

-

da.

There was a meeting Of all seventy iunaksy All seventy-seven. The meeting place was in The Pirin Mountains, The heiduk plateau in The Pirin Mountains.

Dakoi was

their leader.

As in example 60, so In example 61, the song is introduced by a melodic fragment which does not belong to the melody itself. The length and character of such exclamatory passages vary with the individual performer and are seldom standard even with the same singer. Frequently, as in example 61, the introductory fragment is closely related to the melody. (See also examples 62, 69, 73, 89, 176.) ^Raina D. Katzarova, "Dneshnoto sustoianie na epichnia recitativ v Bulgaria/' Izvestia na narodnia etnografski mtizei v

Sofia,,

typescript.

Meter Example

61.

Song

49

dinner table.

at the

M.M. *Fz32Q

^gN

(CS

Za-tru-dil sa

-

tru

Gos

dil

tri

tri

kvi,

Zatruclil sa e

Zatrudil sa

e,

-

e

za

pot,

Gos

sam

-

mo

pra

na

-

-

-

pot,

vil

sti - ra.

The Lord himself worked against odds, Worked against odds and erected

sam Gospot, zapravil

Three churches, three monasteries. He did not build them on earth, Nor did he build them in heavenHe built them between two blue clouds.

Tri tziirkvi, tri monastira. Nito na zemia zapravil, Nito na nebo zaprdvil

MeMu dva sini 6blaka.

COMBINATIONS OF REGULAR, ASYMMETRIC, AND UNMEASURED METERS The

possible combinations of regular with asymmetric meters are mathematically Only a certain number of these combinations, however, have been re-

infinite.

Among them are songs in 2/4 and 7/16; 2/4 and 9/16; 3/4 and 5/4 and 2/4; 3/4 and 5/4 and 4/4; 4/4 and 5/4; 4/4 and 3/4 and 5/4; 4/4 and 5/8; 4/4 and 9/16 and 5/16; 6/4 and 2/4 and 5/4; 5/16 and 2/4. The melodies in either asymmetric or regular meters which include unmeasured phrases are numerous. Most of the unmeasured phrases result from exclamations such as i, o f ay, hey, which are not part of the text and which may dwell on one degree of the scale or spread over a melismatic passage embracing many notes. corded.

More interesting are the folk songs which set an actual poetic text, but, musically, include unmeasured sections within a melody which otherwise follows a definite metric scheme, asymmetric or regular. Such unmeasured fragments may appear at the beginning or at the end of the musical sentence; they may occur one or more example 62 the unmeasured section occurs twice. Example 62. Mdmi Stoidnu dumashe (Mother Told Stoian). Sung by Petko Tzenov,

times. In

Razgrad-Mahala, Lorn, December, 1926. Notated by Christo

Iliev.

61

400

imp

*

Ma -mi

Sto

Sto-e 1

Stoin,

Ot Timok do

-

ia-nu

ne, Vita, p. 826,

'

du-ma

ia

No. 3080.

e - la

IMP

she:

sin-ko Sto-e -ne,

ma-ma

da

te

pre-me-ni,

of

Meter senza mesura

pre-me-ni ma-ma tempo pre me -

na-gla

^P

-

che

na,

^

zla bo-lest, zla

ta

-

tri

sa

na chu

-

clier

se

e

vuv ba-shti

- si

The tendency

na

a

-

chu -

lo

prochu

mla-di,

V mo-

ta

ma,

ti

lo

ft Lf ri,

ka

se

-

sin- ko,

to

te

-

tempo

le- ni

-

combine unmeasured phrases Frequently, such unmeasured insertions include a is

na

^ e

senza mesura

se

-

-

to

fe

chiefly

-

so

-

ve.

with asymmetric meters.

rest, a fermata, or occasionally a note of indefinite pitch. Their position in the song often seems to be improvised and their duration, especially if on a vowel, is rather free. Of the measured folk songs examined, 34 per cent are in asymmetric meters, 19 per cent in regular meters (see p. 20 for detailed statistics on distribution within this group), and 47 per cent in various combinations of unmeasured groups with

asymmetric and regular meters. Among the asymmetric meters, the 7/16 signature appears to be most frequent 20.3 per cent (18.5 per cent of the 2 + 2 + 3 type and 1.8 per cent of the 3 + 2 + 2). In other meters, 19 per cent are in 5/16, 13.7 per cent in 9/16 (11.6 per cent of the 2 + 2 + 2 + 3 type, 1.8 per cent of the 2+3 + 2 + 2 type, and 0.3 per cent combining both), and 11.5 per cent are in 8/16. The remaining 35.5 per cent is distributed as follows: Meter Meter Per cent Per cent 5/8 9/8 10/16 11/16 ( 11/16 (2 + 2 + 2 + 3 + 2)

.

. .

.

.

7.7 2.8 0.2

12/16 13/16 14/16

1.6

Combinations of asymmetric meters

0.9

.

.

.

.

.

.

0.8

.

1.5

.

1.5

18.5

CHAPTER FOUR

MEL ODY

*HE MELODY of Bulgarian folk song

is

in general as simple as the ideas

expressed in the folk poetry for which it provides a setting. It is thus a synthesis of the varied emotions which have gone into the saga of a people. There are undertones of melancholy even in the most lilting of songs, and one always finds the mystic qualities which are typical of the devout peasant.

Like the music of ancient nations, like Gregorian chant, and like all true folk songs, the folk songs of Bulgaria are unisonal. Such monodic music is perfectly self-sufficient and is without harmonic implications. It achieves its artistic aims of tension and climax through intervallic, rhythmic, and formal means. It might, therefore, often be considered to be on a more advanced level artistically than the melodic fragments of the Occident, where the pure line must be aided by harmonic colors, frequently of the most complex nature, in order to transmit an idea.

In the simplicity of external architecture, in the frequent use of free rhythms folk songs are no different from the folk tunes of many other lands. The details of tonal and metric structure, however, are

and the limited ambitus, Bulgarian

unique. Just as the notated song is only an approximation of the sung version from the point of view of meter, so does the written melody differ in pitch from the actual notes of the folk singer. Therefore, any study made on the basis of published collections alone must of necessity make allowance for the accuracy of transcription as well as of notation. My own experience has included recording on disk and tape

from peasant singers and instrumentalists. Even that from being foolproof, although it has seemed to me a reliable method on which to base conclusions. The difficulties which I have encountered arise mainly from three sources: Bulgarian folk musicians do not use the tempered scale; the instruments which they use are not constructed to give accurate intervallic relationship; and, since the folk singer is somewhat nervous and excited as well as notating folk tunes

procedure

is

far

when performing Whether

for a collector, his voice frequently loses its exactness. intervals smaller than the semitone, which have been observed in Bul-

garian folk music, are a result of mechanical imperfections or other external con-

Melody

52 ditions, or is

whether they stem from Oriental influence,

is

not easy to determine.

It

1 not too far-fetched to suppose that such intervals are indigenous,

SCALES The

study of primitive music has always been difficult. In Bulgarian music, as in other music termed exotic, the complexity is especially apparent, since discussion of musical thinking divergent from our own must be presented in an exoteric all

in familiar terms. Together with meter and rhythm, scales represent one of the important factors that must be carefully considered if the picture of

manner and

Bulgarian tonal art

is

to

be complete.

numerous, and it may be demonstrated that they are a fusion of Eastern and Western musical influences. Thus the three main sources Bulgaria's scales are

from which Bulgarian music has drawn are, first, Oriental scales; second, church modes: the osmogldsie (eight-mode singing) of Eastern Orthodoxy, and the medieval modes; third, the conventional scales of western Europe (only toward the end of the nineteenth century). It is of course not always possible to trace a given folk song directly to one of these three sources, since more than one influence may be present. There are many scales which do not fall into any of the three groups.

ORIENTAL SCALES

Among

the scales

which have come

to the

Balkans from Asia, the pentatonic

is

one of the most widely used in Bulgaria. Whether it came from China or Japan, as Dobri Christov suggests/ or from the music of the Tartars, on the feasibility of 3 which another competent Bulgarian musicologist, Raina Katzarova, speculates, it is not possible to say. Since the five-toned scale is typical of the music of many

primitive peoples, local

it

phenomenon,

might

easily

entirely free

be that the pentatonic

scales in

Bulgaria are a

from Asiatic influence.

The term posedly

is

"pentatonic" as applied here does not refer to the scale which supwidely employed in Scotch music and can be played on the five black

is rather implied to mean any scale which is limited to five with no predetermined internal relationships. Example 63 gives several such

keys of the piano. It tones,

types found in Bulgarian folk songs. Some make use of the others contain intervals smaller than a half tone. 1

Dobri Christov points out

D

that,

ABCD

although the half-sharped

B

in

augmented second;

ABCD

typical of the Arabic

and the half-flatted B in ABCD of the uschak are all to be found in Bulgarian national music, they do not necessarily have to be traced to Arabic origin. The folk hears such small intervals in everyday life and imitates them: the steam escaping from a simmering kettle and the whistling sounds of the dying embers of green wood, which buselik, the half -flatted

in

of the sebaa,

frequently have definite melodic contours very similar to the drawn-out, sad melodies of the gdida. Christov, Technicheskia stroez (Sofia, 1928), pp. 44-45. .

.

.

.

8

Raina D. Katzarova, "Ugurchinska pentatonika/

Vol.

XIV

(1948).

1

Izvestia

na narodnia etnografski muzei v

Sofia,

Melody

c/ 1.

M O

41

<

1.

k.

m.

0.

^1

^_

"

1?i

u.

t.

pentatonic formations are possible. Nicolas Slonimsky gives forty4 that by no means exhausts the possibilities. Helmholtz also gives an eight, from China, Mongolia, Java, impressive list of pentatonic scales, many coming and from the music of New New Hudson's Caledonia, Guinea, Sumatra,

Many more and

Bay,

3

Gullah Negroes. In his System of Musical Composition Joseph Schillinger suggests methods for obtaining an almost unlimited number of pitch scales. Some theorists believe that all pentatonic scales are incomplete forms of seventone scales

scales,

with

and have less

called

them "gapped" or

than seven notes

is

"transilient."

6

The

possibility of

excluded. I believe that in countries such as

musical theory, scales limited Bulgaria, before the establishment of any standard existed six tones and to three, four, five, independently and that there are no gaps in such scales, as the notes necessary to complete the octave were never there. Thus, and not necessarily on a pentaexample 64 is built on a four-note scale, G-B^-C-D, tonic scale with a missing

F on

top, as

Raina Katzarova suggests in her study

"Ogurchinska pentatonika." 4

5 e

Nicolas Slonimsky, Thesaurus of Scales and Melodic Patterns (New York, 1947), pp. 160-168. H. L. F. Helmholtz, Sensations of Tone (London, 1930), pp. 257-262, 515-527. Cecil Sharp, English Folk Song, Some Conclusions (London, 1908), p. 45.

Melody

54 Example

64.

is one of the most frequently used, in pentatonic scale in example 63 (t) Christmas hero carols, and work songs. Most of the songs, supernatural, songs of ornamented. often and short are rather the melodies Example 65 is typical richly The that scale. on based tunes folk hundred one of some augmented second, as in

The

Fallen Example 65. Midi Ruian (Young Ruian Has 7 Alexandra vo, Lovech.

111).

Sung by Nedka Marinska, of

^

M.M. J=60

Ru

Mlat this

example,

is

-

raz-bu-lia!

ian,

sometimes used

standard. It also occurs in

mi

to express sorrow,

Ru

mlat

-

ian.

although such use is by no means as part of the melodic figures

unmeasured harvest songs

which accompany the nonverbal interpolations. The

lyrics of the song, of which of young Ruian. After death of the in detail tell are there tragic forty-six strophes, is near, he professes sacred love for his family end as the of months agony, long and longing for the forest and friends. He begs his mother to assist him in donning

his best attire,

then

,

'

.

,

Out his mother went. She brought his best clothes. Best clothes. The spirit came back. Back. Temporarily. Then it left. It left.

The

spirit left

Ruian.

Of the pentatonic scales in which quarter tones are found, only the ones that use the half flat exist in complete form. Songs using scales in example 63 (o, p, q, and r) are conspicuous. In Libe Dobrinke (example 66), which employs the lasthalf flat is an intermediate sound between A and A flat. mentioned scale,

A

Example

66.

Libe Dobrinke (Sweetheart Dobrinka). Sung by Maria

Brenitza, Bela-Slatina, January, 1928.

M.M.

P.

Tzenova,

A 200

ze 7

48, of

8

Narodni pesni ot Sredna Severna Bulgaria (Sofia, Ot Sredna Severna Bulgaria. 8 Stoin, Narodni pesni ot Ttmok do Vita (Sofia, 1928), p. 422, No. do Vita. Vasil Stoin,

1931), p. 531,

-

me.

No. 1586. Hereafter

cited as

1681. Hereafter cited as

Ot Timok

Melody

55

In Bulgarian folk music are found Arabic Magamat scales and modes which correspond to Persian and Turkish scales hidschas, hidjaskiar, huseni, uschak, suuzinak, and others. Such scales are uncommon, however. Glasove II and VI of the Eastern Orthodox chant have characteristics similar to the scales mentioned and have been confused with them by some collectors. Example 67 gives Arab and 8 Persian scales as listed by Dobri Christov. They differ from those given by Ellis, 10 Farmer, and Helmholtz. Example A

67.

RAST

SRP-ADJEM

SUUZINAK

ADJEM-KIURDI

o NEVA (NEAVENT)

MAHUR o 1*4% o

tu

O

43

ISPAHAN

USCHAK ~C~

BUSELIK

HIDSCHAS

=^^FF

gO

ZERGIULE

HUSENI

ARAQ

HIDJASKIAR

"

tf"

SABA ADJEM-ASURAN us:

MUSTAAJR

9

Christov, op. dt v pp. 73-74. Helmholtz, op. dt.f pp. 282-283.

10

-o

o-

^

Melody

56

Dobri Christov mentions that B is not in tune in the Arabic Magamat scale huseni. In all probability the sound of that note is somewhere between B and B flat; if so,

Example

the scale

would read

as in

example

68.

68.

HUSENI

Bolen Doichin (example 69)

is

based on the scale in example 68. The melody and only once does it go below the final.

follows closely the huseni framework

Example 69. Bolen Doichin (Sick Doichin).11Sung by Tzveta Alexandrova, 32, of Gurkovo, Vidin, January, 1927. Notated by K. Zagorov,

len

tuk-mo

le-zi

bo -len

tuk-mo

le-zi

tre

che

che

gle

go

iu

-

tish-la

-

da

na

-

va

-

vet

de -vet

po

-

-

go

-

go

di-ni,

di

-

ni,

nik

-

Pe

ses-tra

bis

de

Doi-chin,

-

na

iu

-

bos

Kla

tar

-

-

ni-tza,

de-iietz.

Sick Doichin grew even sicker.

he lay exactly nine long years, Lo, exactly nine years was he very Ill

The name

scale except the lowest. Stoin,

etc.

of the scale uschak, according to Christov, comes from the two Arab "artist/* Ere Tudore (example 70) uses all the notes of that

words "pleasure" and 11

ill,

Ot Timok do

Vita, p. 790,

No. 2961.

Melody

57

Ere Tudore. Song for swinging. Sung by Ivanka Ivancheva, Example 12 Bela-Slatina, December, 1927. 70.

M.M.

P=

50, of Borovan,

304

f BreTfi-do-re

The form

bregi-di-o,

dza-rari

e

praz

-

na

ne-de-lia.

scale with a half tone followed

is

by an augmented second in the ascending Dobri Christov as hidschas and by Farmer as Ispahan. The designated by

and seventh degrees of the scale are emphasized in example 71. The predominating motion is descending. The raised third step invariably proceeds down to stress the interval of the augmented second. fourth,

fifth,

71. Snoshti si

Example

minah

(Last Night,

My

Love,

I

Passed by Deserted Vratza). Sung

13 by Slavka lordanova, of Pudra, Vratza, May, 1927. Notated by Ivan Kamburov.

M.MJ-. 270

Sno-shti

sno

-

shti

si

mi

-

nah gu-lu-bo,

sno-shti si

mi- nah gu-lu-bo

si

Sometimes folk melodies are built on

krai

scales that are

pu-sta

nah,

Vra

-

tza.

only rough approximations

of patterns here discussed. Example 72 shows such a succession of notes, apparently a mixture of several scales.

Example

72.

32221

In Grozddnka i Bogddn Voivoda (example 73), A half flat (measure six) is somewhat higher in pitch than A flat. This melody is one of the very few to use both chromatic alterations of the same note.

Example

73.

Grozddnka i Bogddn Voivoda^

Andante

Groz

dvor

dan-ka

-

ho

de

-

she

in i

/Wd.,p. 8 4

127,

No. 538.

7&iU, p. 574, No. 2200. Christov, op.

cit.}

p. 68.

zal

-

no

mil

-

no

pla-che

-

she,

Melody

Bog- -da

-

da

ne,

u

te

-

bi

e.

CHURCH MODES THE OSMOGLASIE OF EASTERN ORTHODOXY

The Bulgarian term for echoi is glds; therefore, the eight-echoi singing of Eastern Orthodoxy is known as osmogldsie. Egon Wellesz explains the origin of the osmowith the statement that

"it is an indisputable fact that the church melodies and the Balkan peoples are Byzantine in origin/' 15 The matter is actually much more complicated than this. Scientific research into the history of Russian church music and the church music of the Balkan Slavs is by no means complete. For the present, at least, it may be safe to assume that musicologists who believe that the eight-mode singing is of Slav origin are correct. It would not be at all surprising to discover that this method of liturgical singing had its beginnings in Bulgaria, whence it was transplanted to Russia. (See discussion on pp. 1 1 ff.) The first liturgical music used in the Russian services was notated in what was known as znamenny notation, also referred to as slaviano-bulgarski signs. The names of many of them are still preserved in manuscripts. Many of the composi-

gldsie

of the Russian

tions themselves are called bolgarski rospev; that Bulgaria played a much more

hence there

is

good reason

to believe

important role in the spread of Christianity

throughout Russia than is usually supposed. Macedonian-born Anastas Nikolov (1876-1924), one of the few specialists in the old Bulgarian chant, spent twenty years in Russia studying and transcribing bolgarski rospev which he found in Russian manuscripts of the eighteenth and nineteenth centuries. In close collaboration with Vasilii Smolensky (himself an authority on the subject) and P. A. Lavrov, Anastas Nikolov made a thorough study of the famous Titov collection, kept at that time in the St. Petersburg Public Library. With the aid of Countess Praskovia Alexandrovna Uvarova, he was given access to Uvarov's collection of rare books, containing whatever manuscripts the Titov library lacked to 13

Egon

make

Church Music," Grove's Dictionary of Music and Musicians (SuppleYork, 1944), pp. 171-182.

Wellesz, ''Eastern

mentary Volume,

New

his study complete.

Melody

59

Nikolov writes in the introduction to his Staro-Bulgarsko Tzurkovno penie, "Now, there exists for me no doubt that the liturgical chant notated in Russian manuscripts under the name 'bolgarski rospev' in an epoch when not only distant nations, but even our own had forgotten to identify itself with its own name, was a creation of our [Bulgarian] forefathers." He also quotes a letter written in 1458 by the Maldovian Voivdda, addressed to the Orthodox Brotherhood in Lvov: "Send youngsters to learn Bulgarian Church Chant, because there are already such in Pshemisl."

Judging from the findings of Anastas Nikolov, who had access to prime sources, little doubt that the osmogldsie now in use in Russia came origifrom nally Bulgaria. Bulgarian authorities are inclined to believe that the there seems to be

osmogldsie originated there. The osmogldsie is not a scale or a mode; it is rather a manner of grouping notes into typical melodic contours which differ with each glds. Each of these gldsove further distinguished by its individual beginning as well as by an extended cadence. These characteristics apply more strictly to the gldsove of the liturgy; illustrations from folk songs are naturally somewhat altered, as will be obvious from the accompanying illustrations. Only tunes of unusual tonal and structural nature are given. The complete form of the glds., as well as its typical cadence, is

has been included in all instances. Glds I moves within the pentachord

dominant.

The complete form

Example

74. Scale.

Example

75.

is

G-D, with A as given in example 74.

its

final

and C or B

as the

^ Typical cadence of Glds

I.

In Bulgarian liturgy Glds I is usually transposed down a fourth. song (example 76), which ridicules the lazy village belles, uses Glds

A

humorous

I

thus trans-

18

posed.

Example

76. Poiskdla

Rddka (Radka's Desire).

M.M. Jsll4

Po-

ri-za

is-ka

i

-

cho-ra

Rad-ka da se

la

-

pi,

Poiskdla Radka da se 2e"ni Ala ne'ma riza i chorapi,

Ala 16

Op.

lie"

ma riza i chorapi

a

-

la

ne

ze

-

p. 57.

ma

a

ni,

ri- za

-

la

i

ne

cho

-

ma

-

ra

-

pi.

Radka has decided

to get married, shirt nor has she stockings,

But she has no But she has no shirt nor has she

According to Dobri Christov, the second degree of cit.,

-

this glds is

stockings,

somewhat uncertain and

flat.

6o

Melody Da si dari svekur svekurva, Da si dari zulva ettirva.

To give presents to her husband's parents, To her husband's parents and his sister.

i

i

Polieleiat is

in Glds

na Bulgarkata, the opening of which

Glds II moves between final

is

given in example

1

(p.

12),

I.

F and

B, with

D

dominant and

as

G

(sometimes B) as

(examples 77-79).

Example

77. Scale.

fa

Example

78.

Typical cadence of Glds

II.

Example 79. Sldveiche pee (The Song of the Nightingale). Sung by Maria Borisova, Elena Nikolova; and lordana lordanova; of Chaushovo, Svishtov. 17

M.M.

=

152

Sla-vei-che

In Glds

28;

III,

E

is

pe-e

ma-li ma

A

considered the tonic,

mi

do-lu

the dominant,

go

F

-

re,

go

-re.

the final (examples

80-81).

Example

80. Scale.

Example

81.

Of

Typical cadence of Glds

III.

A

the several varieties of Glds IV, the type illustrated in as example 82 uses E as final. The fifth degree may be either B flat or B natural in ascending

dominant,

or in descending form.

Example

82. Scale.

(b)

Example

83.

fa

(b)

Typical cadence of Glds IV.

fa In Glds V the dominant may be either generally contained between E and A. Example

G

or

84. Scale.

fa

17

Stoin,

Ot Sredna Severna Bulgaria,

p. 378,

No.

1

168.

A and

the final D.

The melody

is

61

Melody Example

Typical cadence of Glds V.

85.

J J In

all

J,

J

J

J

VI (example 86) the lower tetrachords make use of the difference lies in the upper tetrachords, where each of the

three forms of Glds

augmented second. The

three displays a different arrangement.

Example

Forms of Glds VI.

86.

A (quite infrequent); B (more frequent); C (as frequent as B). .

fa

,

fa

,__,

Example 87 gives the two types of cadences, which ends on the tonic; the second, on the dominant.

are equally frequent.

The

first

Example

Typical cadences of Glds VI.

87.

B

A

s

The structure of the first glds, example 86, A, is identical with the raga Bhairava found in Hindu music. The dominant may be either B or A, and the final, E. In example 88, which is built on type A of Glds VI, the dominant B is strongly emphasized.

Example 88. Konia f konia, rdnen konia (Beautiful Horse). 18 cheva, 19, of Mindia, Elena.

^ Ko

Ko

-

-

nia,

ko

-

nia,

^ ra

nen

Sung by Ivanitza Ivanova Don-

^^

ko

lio

nia,

go

-

vo

many other Bulgarian folk songs, can be classified under two with equal justification. It is primarily a love song, but customary type headings it with many other delightful songs which are sung at dinner. The usage places This song,

like

homely and simple; yet had been conceived by a finished artist.

incident described it

is

its

presentation

Kolio spoke to his beloved horse: "Let us go where we dined last night, Where we met three pretty maidens. The first made my bed with fresh linen, The second tucked me in, but the third o.

1735.

is

as effective as if

62

Melody She spoke to you, my friend, saying: 'Have you eaten enough? Are you thirsty? Is your master engaged? Is he married? If not, he should marry me. " If he does, he will never regret it.'

The second type of Glds VI, which differs from the first in that it does not have the augmented second at the upper level, is more frequent than type A (example 89). Example

89. Sadila

momd

Maiden Planted Onions). Sung by Efimia Tzvetkova, Kamburov. 19

luk (A

of

Progoreletz, Lorn, 1927. Notated by Ivan

M.M.

152

ftp f t V mo-ma

Sa-di-la

n

krai bo

luk

ill

-

kluk,

na-u-cMl se mlat mo-muk

i

t da

i

be-re

id-vai mom-che pak;

a -ma mo-ma du-ma-she,

luk>

luk,

nr

IT

U|f

p

na-li

If

f

|T

si

mi

R3|I^

|T

mil

i

drag^

id -vai

mom-che

pak.

pak,

A young maiden planted onions, A young lad came and plucked them. To the young lad said the maiden, "Since I love you, come again, come again." VI (example 86, C) is almost as common as that used in which it example closely resembles. Notice the descending melodic motion in Pozgodil mi sa mldd Georgi (example 90).

The

third type of Glds 89,

Example 90. Pozgodil mi sa mldd Georgi (Young Georgi Became Engaged). Sung by Rada Tzaneva, 38; Maria Miteva, 50; Dona Tanchova, 44; Ivanka Dzurova, 45; Pena Iv. Kazanova, 20 30; Tzveta Velichkova, 34; all of Stanchov-Han, Drenovo.

M.M. J = 152

rr

ir

r

Po

-

zgo

-

dil

mi

sa

^^^

^

mlad

Geor-gi,

rr

i v Pe Glds VII

ample

20

is

tuk like

mu ir III,

p be

-

she

go

Stoin,

Stoin,

^ de

-

2a,

^ de

-

za.

with somewhat extended compass on either end

91).

Example

19

-

ir

91. Scale.

Ot Timok do Vita, p. 862, No. 3213. Ot Sredna Severna Bulgaria, p. 459, No.

1381.

(ex-

Melody Example 92. Typical cadence of Glds VII. J

VIII corresponds to C major, the most frequent notes being the first five. the final; E (and sometimes D) serves as a dominant. Compositions in Glds VIII ordinarily end with the cadence given in example 93. <25

C

is

Example 93. Typical cadence

of Glds VIII.

A

large number of unusual scales which are firmly established in the various parts of the country fall into no particular classification. An explanation may be that they are combinations of various gldsove and Oriental scales. From the extensive

group of folk songs built on such

(examples

scales, three

examples have been chosen

95, 97, 99).

Example

94. Scale.

Example

95.

Sung by Raika Petkova, a

50;

Pena Hr. Lazarova,

45;

and Nanka V. Seikova;

of Gloiene, Teteven, March, 1928.

ko Example

-

sum

gi

er

ma -mo

-

io

di

-

io.

96. Scale.

Sung by Ivan Chantaliski, of Pudra, Vratza, Example 97. Dali gurmi? (Is It Thundering?), 22 May, 1927. Notated by Ivan Kamburov. ^

M.M.J=42

? Da

da 1 a

Stoin,

- li

- li

f

gut- mi,

gur - mi

Ot Timok do

Vita, p. 665,

/feidL,p.447,No. 1755.

il

No. 2518.

se

zem-ia

tur

w

f

64

Melody

Example

98. Scale.

Example

99. Tzenil se

Tzenova, Zlatitza

Ilieva,

Was Hired). Sung by Kruskiana Dimitrova, Stoilka S8 Petrova, of Gorno-Osirovo, Berkovitza, January, 1928.

lovdn (lovan

and Ivanka

Songs based on scales such as the foregoing, with the influence of the Orient, or the gldsove,, or a combination of both, have qualities distinctly their own. The phrases are rather short and loosely constructed, and follow no specific pattern. The melody has a limited range, moving by conjunct motion chiefly, the descending motion being predominant. The songs are richly decorated and vocal interpolations are frequent. The melody is either unmeasured or it uses additive meters; if the latter, the various units within the measure are treated rather freely. The subject matter, in the majority, is unusual, dealing with talking birds, faith in the curative powers of herbs, the life hereafter, and so on. The presentation of gldsove and other unusual scales in modern notation is at best only a rough approximation of the actual sounds. Since the tempered scale is not used in Bulgaria, all indicated half-flatted and half-sharped notes are by no means in quarter-tone relationships to the two notes between which they appear. For instance, B half sharp in buselik (example 67) is closer to B than it is to C; B half flat in huseni (example 69) is closer to B than it is to B flat; E in Glds III and B in uschak are somewhat flat in comparison with the same notes in the tempered scale; E flat in Glds VI is a little higher, and so on.

MEDIEVAL MODES

Most of the ecclesiastical modes with their hypogenera are well represented in Bulgarian folk music. Examples in the Dorian, Phrygian, Lydian, mixolydian, and Aeolian modes are quoted. Dorian mode. In example 100 the opening on the seventh degree of the mode is unique, also the repetition of the first two measures and then of the first four measures. The syncopation in measure thirteen is equally rare. 23

Ibid., p. 297,

No. 1252-

65

Melody Example Sofia,

100. Idi,

mdmo, u Donkini

(Call

on Donka, Mother). Sung by Kina laneva, of

84 August, 19 II.

3 I -

ma -mo,

di,

Po -is

kai mi,

mi -la

mamo,

d2dnum

-

Idi,

i

s *

idi

ma

-

mamo, Donka hubavitza, i t.n.

ka

-

u

lu

Don-ki

hu-ba

-

vi

-

-

ni.

tza.

See example 101.

Pusni mi,

101.

-

Go, dear Mother, call on Donka, Call at Donka's house, And ask, Mother, dear Mother, For the hand of pretty Donka, etc.

Poiskai mi, mila

Example

do

Don

mo,

Dolu u D6nkini,

Phrygian mode.

P=E

dza-num,

di

lelio

25 mari, Todorka. Notated by Dobri Christov.

Moderate

Pus

-

ni

le -

mi,

lio

ma

-

ri,

To

-

dor

ka, II

Dva

-

ma na

16

-

ze,

le - lio,

da

dem,

i

2

dem.

let Todorka come with me, So that together we may go to the vineyard.

Auntie,

Indian and hypolydian modes. These are extremely rare, so much so, in fact, that I have been unable to locate examples of them in complete form. There are some songs, however, which- are built on one of the tetrachords of these modes (example Example fi

102). 102.

Eld sa viva. 20

Andante XXJULVLCt JU. U

E Ela

-

v*

la

sa vi-va,pre-vi

sa'viva, previva, sa s roda proshtdva.

Moma

-

va,

mo-

o

-

ma sasro-da

pro-shta-va.

The willow bends its branches, While the maiden bids her family

farewell.

This wedding song, according to Angel Bukoreshtliev, who has made an extensive which are among a study of the central Rhodope district, belongs to group of songs in the that He believes the oldest in that sector. Lydian mode, which is one songs 24 Col. lankov, collector, and Dobri Christov, notator, "Bulgarski narodni pesni ot Besarabia," Sbornik za narodni umotvorenia i narodnopis (Sofia), Vol. XXVII (1913), p. 16, No. 21. 25 Ivan Kamburov, Illustrovan muzikalen rechnik (Sofia, 1933), p. 98. * (Sofia), Vol. XXXIX (1934), p. 8. Angel Bukoreshtliev, "Sredno-Rodopski pesni," Sbornik .

.

.

66

Melody

of the rarest, are older than melodies In the other medieval modes.

that the Dorian

mode

Mixolydian mode. ample 103). Example

103.

is

prevalent in the music of the

This mode

is

fairly

common,

Pomaks.

He

also states

87

especially in

Macedonia

(ex-

Notated by Dobri Christov. 28

Aeolian mode. The Aeolian mode is well represented in Bulgarian peasant music. In most of the songs, however, the octave above the final is not included; instead, the melody extends a second or even a third below the final. Example 104 is

quite unusual.

Example

104.

Notated by P. E. Stefanov. 2*

fO'

16

T

|T

P

li : ll

f

CJME CONVENTIONAL SCALES OF WESTERN EUROPE

Prior to her liberation in 1878, Bulgaria, unlike her sister Slav nations, had little or no contact with western Europe; therefore, Occidental influence on any aspects of the national culture was negligible. Nor was any direct result of the earliest

West immediately noticeable. Just as the Byzantine clergy Middle Ages failed in their desperate efforts to convert the Bulgarians, so cultural overtures on the part of western Europe had no discernible effect. In both instances, attempts to proselytize were doomed, since they affected only the population in the bigger cities. Four-fifths of the nation's population remained in the villages, almost unschooled and completely nonindustrialized. There, isolated and self-contained, with its rituals and customs, traditions and folklore, the Bulgarian peasantry has managed to preserve its identity for some twelve centuries. intercourse with the in the

last three decades, however, even the remote Bulgarian village has undera gradual metamorphosis; with improvements in roads and transportation, gone mass exodus to the city took place. The nation's leading theaters and symphony

In the

orchestras gave performances in rural sections; schools were opened throughout the country. An impressive number of students sought education in the famous universities of continental Europe, England,

return they brought with 27

The Pomaks

them

are Bulgarians

who

and the United

States,

and upon

their

the patterns of a different culture.

practice the

Mohammedan

religion.

They inhabit the regions

from Chepino to the Rhodope Mountains. Although the Pomaks have accepted Mohammedanism, their speech and song are in the pure Bulgarian language. The influence which the singing of the hodjas has exercised on the Pomaks seems to be negligible, as has been that of the professional Turkish musicians. 28 29

Kamburov, Loc cit.

op.

d., p.

98.

67

Melody

The need for trained professional men engineers, lawyers, dentists, doctors, musicians, artists, teachers was greatest in the outlying districts, to which many of the newly trained went to practice. Thus the conflict between the applied music is folk song (which has remained applied to both folk poetry and dance) and the theoretical music of the academies; the monophonic music of the folk singer and the highly colored, harmonic settings of art music; the gldsove and the

that

concept of the major-minor tonality. In recent years many melodies which from

indications postdate the meeting

all

and West have been included in published collections of Bulgarian folk songs. There can be little doubt that they stem directly from the influence of an alien art music and do not properly belong in the folk-song category. More often than not they display a regular metric signature, consist of regular phrase and period divisions of four, eight, or sixteen measures, exhibit an unusually wide compass, and follow definitely harmonic outlines. (See example 4. Melodic fragof East

ments

example 137 are indeed very unusual in Bulgarian them use devices atypical to Bulgarian folk music, such as modulation, chromaticism, excessive syncopation, and sequences. Another Western influence on Bulgarian folk music that is more widespread like measures 7 to 11 in

folk music.)

Many

of

than the addition to standard collections of unauthenticated, perhaps artificial is the inaccurate notation of actual folk songs by Bulgarian musicians who have been trained in foreign countries, and who find it difficult to record what they hear exactly, without editing it to conform to Western theory. For nearly a folk songs

half century a bitter struggle has raged in the Bulgarian press in regard to the notation of Bulgarian folk songs in a manner that portrays their genuine sound

and

structure. Paradoxically enough, both points of view in the argument sound logical as far as they go. It seems to me, however, that the major premise of the

Bulgarian scholars of music

who have been

trained in Europe

is false;

they have the order

and theory confused.

"The truth

is,

of course, that these scientific expressions are not arbitrary rules,

but are explanations of phenomena.

The modal

system, for example, is simply a it is natural for people to

tabulation by scientists of the various methods in which 80

sing/'

There should, then, be no quarrel with theories of Western music; its rules are based on a logical development of the tonal art of western Europe. Therefore, the minor scale does need a leading tone, a melody has come to imply certain harmonies, and the 9/8 measure is a compound triple measure in Western music. But no system of logic could insist that the same theories must apply to an unknown that of Bulgaria, for instance, where the minor scale in hundreds of songs has a lowered seventh degree, where the melody is extremely difficult to harmonize, and where a 9/8 measure is never a compound triple meter, but rather

body of music

an additive combination of2-f2 + 2 + 3or2-f-5-i-2 +

2.

INTERVALS The

diatonic progression predominant in Bulgarian folk music. Nearly all the music Western known to intervals appear both in ascending and descending form. 80

is

Ralph Vaughan Williams, National Music (London,

1934), pp. 29-30.

68

Melody

Although the octave may appear anywhere within the melodic phrase, it is found most frequently either at the semicadence, as part of an exclamation, or accompanying words which are not part of the text, or perhaps, under similar circumstances, at the end.

In the music of the Rhodope district, however, the octave appears frequently at the beginning of the period, ascending (example 105).

Example

105,

^

etc.

runr

r

j

.

In rare instances, the leap of an octave appears within the phrase, in descending motion (example 106). Example 106 is also unusual because of the leap of a seventh, followed by the leap of an octave in the opposite direction.

Example

106.

31

M.M. J = 72

-

Often the octave leap

et c

the result of an exclamation, as in example 107.

is

Example "107. Ostdna kozd

idlova

(The Barren Goat). Sung by Gena Stefanova,

Dolni-Lukovit, Orehovo, January, 1928.

0-sta-

.

.

.

na ko-za,

.

38, of

82

...

ia-la ia

/

pri-be-ri

The major folk songs

mon,

seventh does not exist as an independent melodic interval in the under consideration. The minor seventh, on the contrary, is very com-

especially at the beginning of the musical sentence (example 108).

Example

108.

ChMam sa mdicho

(I

Wonder, Mother).

83

Moderate

^ Chu

da-

-

dam

li

mai

sa,

ot

te

Chudam sa mdicho, mislim sa, tbe da minem.

Example 109 83

**

Katzarova, op. Stoin,

4.

example Ot Timok do Vita, p. 263, No.

Bukoreshdiev, op.

cit.f

p. 5.

be

da

mi

nem.

wonder, Mother, as I think, should pay you a visit.

If I

gives further instances of cit.,

*

mi

cho,

I

Dali ot

81

-

1122.

opening phrases using ascending sevenths.

Melody Example

109. tC.

etc.

The

use of the minor seventh at the beginning of the phrase, as in examples 108 is typical of the music of the Pomaks. In the music of other parts of the country the minor seventh may occur within the phrase (example 106), or it may

and

109,

appear

as a

nonverbal interpolation at the semicadence, or at either end of the

phrase (example 110; see also examples

Example

7, 73,

106, 218).

110.

ni-la

ra- no

The

interval of the sixth, major and minor, although not altogether excluded, neither usual nor characteristic. Examples of the major sixth are rarely found in genuine folk songs. But the minor sixth is frequently present in actual folk

is

melodies, especially in those from Macedonia. The perfect fourth and fifth may be called the most characteristic intervals in the construction of Bulgarian folk melodies.

They may appear

in melodic

form

at

the beginning or within the phrase, and often as part of the cadence. The perfect fourth is an important structural interval. Two or more successive fourths are rather typical. (See examples 7, 28, 115, 191, 204, 205.) The melody either turns back, scalewise, after the second leap (example 111), may return to the point of origin and leap to another fourth in the opposite direction (examples 112, 153), or

may be

connected by a step with the second leap (example 113; see also example

153).

Example

111.

Example

11 2.

Example

^

etc.

113.

In rare examples the

fifth

may be

followed by a fourth, and vice versa (example

114).

Example

114.

j

j

j

i-n

j

j

ii

j

N.

j

u.

i

Melody

70

Occasionally, a fourth is followed by an octave. (See example 8, p. 18.) It is not unusual to find folk songs consisting almost entirely of perfect fourths and fifths (example 115). That the natural intervals of the fifth as well as the

Example

115.

Sung by Spasa Nikolova Penelska,

57, of

* Kne2a, Orehovo, October, 1927. a

M.M.J =40

Set

-

te s

do

sei-te,

tri

si-ta

fourth are important structural factors in the internal organization of a great many melodies is further evidenced by the fact that the latter often move within those intervals, the division between the two being marked by a caesura, a fermata, or a half cadence (example 116). *

Fifth followed by fourth

B



(Sister Mariika, Have You Been to Market?). Example 35 Todorov, 20, of Dolna-Gnoetitza, Orehovo, October, 1927.

116.

dele kdko

Sung by Peter

Jui 45 M.M. J_J ka-ko Ma- rii- ko, dos,

6-le-le,

ho-di-la

si

li

nis

As structural intervals a fourth may frequently be followed by a plete the octave (example 117).

Example

117. Ptistite

r Pus-ti

Of

the

ir -

te

augmented

r mu

ir -

mi,

Ibid., p. 497,

mo -mi

Va

-

ka

-

rel

-

ki.

intervals other than the second, that of the fourth seems to 118). Diminished intervals, as in example 99, are

Ot Timok do Vita, No. 1955.

Stoin,

to com-

i

mo

rare. 35

fifth,

mH morni (The Wild Maidens of Vakarel).

be the only one used (example 34

pa-zar.

p. 136,

No. 578.

Melody 118.

Example

Sung by Dragana

71

Petkovitza, 68, of Karlukovo, Lukovit,

March, 1928. No-

tated by P. E. Stefanov. 38

M.M.

Ai

da ta

vo-da

data

ai-de

du-de,

de,

du-de,

na-she

vo

-

se

lo.

The major and minor

third occur almost as frequently as the second. Often they appear in succession to form major and minor triads (examples 34, 64, 89, 145, 146; note also measures 7, 8, 9, and 10 in example 137). The augmented second has been conspicuous throughout the musical illustrations and needs no further comment. (See examples 20, 23, 43, 53, 60, 61, 65, 71, 73, 79, 88, 89, 90, 95, 145, 146, 154, 160, 172, 178, 179, 180, 193, 197, 200, 201, 204, 208, 209, 210, 216, 217.) The unusual by the various scales employing intervals smaller than a minor

intervals created

second are many; they belong in an entirely separate classification and therefore are not discussed in detail here. (However, see examples 66, 69, 70, 73, 99, 140.) The half flat appears more frequently than the half sharp, and resolves downward. The half sharp does not necessarily resolve scalewise. The two never in the same

appear melody, although there are instances where a half sharp and a flat are used, as in example 120. In a few instances, two half sharps are used in the same song, as in

example 122. Examples 119-122 further illustrate the use of the half flat and the half sharp. Bulgarian folk music uses the untempered scale, and the intervals resulting from the half sharps and flats are not quarter tones. In example 119 the final exhibits an interesting relationship to the rest of the melody. Note the interval B to D half flat.

Example 119. Christmas Carol. Sung by Gana Atanasova, 56; and Kera Rashkova, 45; of 87 Mekish, Veliko-Turnovo. ^

M.M.

A 240 r TP PP

* Kur-va Note the Example Moneva, 46;

-

po

- li tza,

-

do.

G half sharp to B flat in the second measure of example 120. Rdvna zeldna mordva (The Level Green Meadow). Sung by Ivanka N. and Danka I. Vasileva, 42; of Golem-Izvor, Teteven, March, 1928. 38

A 304 - le

-

na

mo-ra-va,

No. 568. Of Sredna Severna Bulgaria, p. 167, No. 425. 8 Stoin, Ot Timok do Vita, p. 92, No. 386. Ibid., p. 133,

Stoin,

la

interval

JRav-na ze

7

la- do -to

120.

M.M.

*

na

vi - tza

go-ro

lio,go

-

ro

ze-le-na

Melody

ys

Zaliubila Vangelina (example 121) is a humorous love song, with many regional The constant factors in all versions are the names of the principals, care-

variants. less

Vangelina and her

lovers, the sons of

Dimo. The gory conclusion of the

brothers' rivalry varies widely; in the fatal battle over Vangelina, rivers of blood sufficient to start the mill wheels turning, or torrents of blood to water dry plains may flow. In one version, Dimo has five sons in the toils of Vangelina, who are

advised to visit her on succeeding days. It is significant that the tragic material of brothers killing each other over a woman has, in this folk-tale song, always been treated in a burlesque manner.

Example 121. Zaliubila Vangelina (Vangelina Has Fallen in 89Love). Sung by Ivanka lordanova, 50; and Ivanka Docheva, 27; of Duskot, Veliko-Turnovo.

M.M.

=

160

J Za-liu

bi-la

-

Van-ge

NJJVlJ -

\i

-

|Hf^f33

J

Di-mo

na

-

vi-te

dva-ma

si-na

Vangelina's madly in love, With two handsome sons of Dimo, But she mixed her dates and had them Both call on her the same evening, etc.

When a half-flatted note concludes

a melody, this note is usually higher than the But a note half-sharped note which completes a phrase is (example 119). opening of the melody (example 122). the note than lower usually opening

Example 122. Sluntzeto^ Stdno, zaioda (The Sun, Stano, Is Setting). Sung by Mara Danova, Vuta Monova, Slavka Dochova, and Minka Velkova, of Urbabintzi, Kula, February, 1927.*

M.M. -^=200

,

Slun

-

tze

-

Sta

to,

-

no,

-

za

io

-

da,

Bulgarian folk songs begin on any degree of the scale; no marked preference is The use of the third and fifth degree at the beginning is merely acci-

discernible.

dental (examples any degree of the

6, 8, 15, 22, 28, 31, 35).

mode but

Thus, Dorian melodies

may begin with

the second (example 123; see also examples 54, 65, 71,

73, 76, 100, 189, 191, 194).

Example

123.

eta

(Final)

etc.

J.

88 40

Stoin, Stoin,

^

J j

__-

etc.

etc.

,

if!

Ot Sredna Severna Bulgaria, p. 823, No. Ot Timok do Vita, p. 232, No. 996.

2520.

^.

,

N.B.

,

etc.

etc.

Melody Not

73

infrequently, melodies begin with the tone below the final (example 124;

see also

examples

Example

17, 32, 38, 193).

124.

(Final).

etc .

J

J.

Diatonic ascending motion at the beginning of the melody is apparent in Bulgarian folk song. However, there can be no conclusion drawn concerning the 41 General descending motion within the phrase, as in thirds, fourths, and fifths.

example

is

150,

rather frequent.

CADENCES SEMICADENCES

Although the semicadence frequently appears in the middle of a musical period, it usually follows the text and hence may occur anywhere. The caesura is effected by a note of longer duration, by cessation of motion altogether, by an exclamation, or by a fermata. Either or both sections thus resulting may be repeated with the same or, more rarely, with different text. The half cadence may fall on the note of the final itself (example 76), on a note which is a major or minor second or a major or minor third above or below the final (examples 10, 11, 38, 48, 97, 147, 193, 212), on a perfect fourth or fifth above or below the final (examples 7, 117, 137), or on a minor or major sixth or seventh, or even an octave above the final (examples 14, 45, 125). The half cadence may further fall on the seventh degree or on the octave below the final, although this is much less common. Frequently the half cadence has an ornamental form, the general contours of the decorative grouping resembling the various ornamental cadences given in example 126. semicadence may be further emphasized by an exclamation, which sometimes leaps up with a striking interval (example 125). The interval of an eleventh final

The

Example

125.

in the last measure of example 125 is so exceptional that it was omitted from the discussion on melodic intervals. The octave remains the largest interval to appear

with any frequency. The free construction of the folk song makes possible more than one semicadence within the melody, as in examples 9, 62, 69, 163, 164, 182.

FINAL CADENCES

As the general direction of the melodic line is upward at the beginning, so toward the end it takes the opposite direction. At the cadence itself, the descending second ending is most frequent. ENDING ON THE FINAL

Example 126 41

gives a few characteristic final cadences.

At the beginning

of the phrase there are approximately as

many

fourths

downward

as

upward.

Melody

74 Example

126.

A (Final).

J


=!

-I II

&

J-J-M

^

irfJ

p

=

This

is

jt=d=d

r'

ppppp* ^

ENDING A MAJOR SECOND BELOW THE FINAL frequently approached by the skip of a third from above (example

Example

127.

A (Final). ISXI

&

Jirr'JirrrJ

This form may also result from an exclamation, thus

==s~

127),

Melody

75

ENDING A THIRD BELOW THE FINAL

Example

128.

(Final).

ENDING A PERFECT FOURTH ABOVE THE FINAL

Many

such cadences are exclamations with syllables which do not belong to the

text.

(Final).

Fewer end with other Example

^

intervals, also as exclamations

(example

S=

=P Ji.hi.hj such exclamations end with indefinite pitch (example

Example

129). Frequently,

129.

Ji|TT.a

ISO).

130. **

or-

ORNAMENTATION Sir Hubert Parry has advocated the theory that ornamentation in any art, whether music, painting, or literature, implies either undeveloped mental powers or great excess of dexterity. It is demonstrably correct that where limitations of intellectual

development preclude the grasping of intricate and abstract concepts, an excess of may be turned instead to devices of ornament. The opposite, how-

technical skill

that extraordinary craftsmanship implies lack of is not necessarily true intellectual powers. (Consider, for instance, the music of K. P. E. Bach, Couperin, eyer,

Mozart.)

In folk song the individual performer customarily adds his

own ornamentation

to simple folk melodies. Ornamentation is the most obvious communal addition to the folk melody, the creative work of the singer or instrumentalist, added to the original patterns to serve a twofold purpose; that of pleasing the audience, and of

gratifying the performer himself as a demonstration of his great dexterity. I believe, however, that these ornaments must also be recognized as exhibiting distinct creative ability, since they are in strict agreement with the form, the tonal pattern, and the general artistic design of the folk song. In this way they are as

creative as they are interpretative.

Melody

76

Melismatic passages precede many songs and serve no other purpose than to attract the attention of the audience; they set a vowel which is not part of the text

(example Example

131). 131.

Kakuv

e

2

spomen*

Ka - kuv

Hei!

e

spo

-

men,

M.M. J:60

Sed

-

ni,

Mar

-

ko,

etc.

hei!

hei,

Hei,

zo

-

ra

Within the musical period the decorative addition may progress diatonically or by a quarter tone or an augmented second; it may cover the interval of an altered or perfect fourth or

Example

fifth

(example

132).

132.

Sometimes the ornamentation consists of a group of grace notes to facilitate the singing of very wide intervals that are entirely out of character in a particular song. These unorthodox leaps may result from a singer's transposition in order to find a

more comfortable range

for the phrase; this, however, does not

seem to be

true in example 133. 42

Katzarova, "I)neshnoto sustoianie

grafski mtizei

v

Sofia.

na epichnia

recitativ

v Bulgaria/'

Izuestia

na narodnia etno-

Melody drum,

77

133. Seite, drushki (Sow, Friends). Sung Lorn, December, 1926. Notated by Christo Iliev. 48

My

Example

by Baba Gika Torlashka, of Vulche-

M.M. J = 66

Sei

-

sei-te, drush-ki

te,

be

le,

-

i- n

lo

brash -no.

Besides the type of exclamation which appears at the beginning of the musical period, illustrated in example 131, there is a type of exclamation consisting of fewer notes, setting a single syllable; frequently there is a note as well

only

(example

single

134).

Example

134. etc.

__

k

,

09

etc.

m o-bla-zi

a

Similar exclamations in both these places

may

and

sa

Va

e

-

e

/

plad-ne

also appear within the phrase, at the final cadence, or

at the beginning as well (example 135).

Example 135. Samd Idnka zamrukndla (lanka Was Alone When Overtaken by Darkness). 44 Sung by Rada Dikova, 33, of Toros, Lukovit, February, 1928.

M.M. ^=180

Sa

-

ma

Ian

-

ka

za

ke

la

le

-

mru - kna

no.

-

ANACRUSIS The

found so rarely in Bulgarian peasant tunes that for all practical it is nonexistent. However, the Bulgarian folk singer has sometimes felt purposes the psychophysiological necessity of anacrusis and fulfills this need by adding, during performance, a note which is not part of the melody, set to a nontextual anacrusis

syllable

is

(example 136; see also examples

Example

99, 140).

136.

J (e)

Ran

bo

-

si

-

lek,

MODULATION Modulation

another rare phenomenon in Bulgarian folk music, and the few recorded examples must be considered to be of much later date than the majority of the folk songs here discussed. The Macedonian song, example 137, popular in *

Stoin,

is

Ot Timok do

Vita, p. 137,

.244,No. 1043.

No. 584.

78

Melody

the vicinity of the celebrated Lake Ohrid, modulates to the dominant minor in the second phrase of the first period and returns to the key of the signature for the

Note the

entire second period.

second periods, respectively. In

and

178, 179, 195,

Example

137. Sin

212.

Some

mi kerko

te

three-

and four-measure phrases in the

and

first

connection see also examples 20, 54, 73, 167, of the modulations are quite irregular. this

miluval 45

(My Son Has Fallen

in Love with You).

ft:

Sin mi ker-ko

te

mi-lu-val,

Sin mi ker-ko

chi.

da

sra-mel

se

pa

mi

te

-

pa

The change Example

of

-

%

se sra-mel,

mode (example

re

lu

^ ? val,

ti

se sra-mel

pa

138) has a

da

somewhat wider

-

re

ti

chi.

application.

138.

3

Cs

u

r

RANGE The range

of the Bulgarian folk song rarely exceeds the octave; the majority encompass only the fifth. The narrowest melodic range which I have found is that of the minor second (example 139). This vivacious song, performed during the

Example

139.

Zdrdva godinchitze (A Prosperous New Year). Sung by Anka Nikolova, Notated by P. E. Stefanov. 46

"24,

of Beli-Mel, Ferdinand, September, 1927.

M.M.J

JUSO

Zdra-va, celebration of

go-din

zdra-va,

St. Basil's

Day,

-

^

^

^

chi-tze,

doi

la

-

do.

the lack of intervallic interest with neatly

offsets

arranged metric and rhythmic forms. The two-measure extension at the end makes for much more interesting form. Words irrelevant to the text are added, followthe scheme of two syllables to the measure. The lyrics of the entire folk ing song,

which would be quite meaningless in

translation,

convey the good wishes of the

singers to the celebrants.

found no melodies limited to two notes a quarter tone apart, but several are based on two notes that are examples approximately three quarter tones I

apart.

Kalina seno pldstila (example 140) 45

4e

is

Christov, op. ciL, p. 61. Stoin,

Ot Timok do

Vita, p. 48,

No.

186.

such a folk melody.

Melody Kalina seno pldstila (Kalina Example 47 80, of Krushovitza, Orehovo, October, 1927. 140.

Ka-li-na

no

-

se

Was

pias-ti

~

79

Gathering Hay). Sung by Tola Karchova,

mo-ma

la,

uba

va Ka-li-na.

-

Kalina was gathering hay, Beautiful maiden Kalina.

The repertory of the folk singer abounds in melodies that are contained within the major second. Examples 141 and 142 are quoted here to illustrate further the point already made that a musical sentence may be dynamic and interesting with the simplest melodic material, I believe it is no accident that one of the groups contains seven measures in quintuple meter, while the other contains five measures of 9/16. Similar schemes which demonstrate economy of means without lessening the effectiveness of the musical thought are prominent throughout Bulgarian folk songs. The treatment of the dotted sixteenth note in example 141,

Example

Sedni bulka

141.

(Sit

Down, Young

liksena Sirkova, of Kramolin, Sevlievo.

Bride).

Sung by Danka lordanova and Po-

48

M.M.

bul-ka

Sed-ni

measure

Example

prus-ten,

la-do

tui

mla

-

do.

unique; it facilitates insertion of a three-syllable measure into a in duple meter.

is

5,

melody that

iz- va-di

is

142.

Tumna mugld

(Dark Fog). Sung by Danka Ivanova, 56, of Beli-Osum,

Troian. 48

M

320

IP Turn- na mug-la

mom-ne

pad-iia,

le,

Another device used for adding variety and

ETiHr

turn- na

mug- la

interest to the

second phrase so as to retain the rhythmic units of the order (example 143). their ing alter the

pad-na.

melodic line first,

Example 143. Zarucha, Stona, mdika ti (Your Mother, Stona, Has Given 50 Sung by Maria losfova, 58; and Danka Naidenova, 45; of Kolibeto, Troian.

is

Instructions).

M.M. J- 152

Zu 7 8

*

ru-cha, Sto-no,

/&{<*., p. 103,

mai-ka

ti,

No. 438.

Stoin,

Ot Sredna Severna Bulgaria,

Stoin,

Ot Sredna Severna Bulgaria, p.

p. 173,

173,

No. 447.

No. 447.

Sto

-

to

while chang-

no lio,chor-ba-dzi-ko

lio.

8o

Melody

Often the two melody notes are a third apart (example 144). Example 144. Poide Ldda na voda (Lada Went to Fetch Some Water). Sung by Petra 51 tova, 60, of Gorni-Lorn, Belogradchik, November, 1928. Notated by P. E. Stefanov. M.M.

Igna-

A 240

Poi-de La-da na

vo

-

poi-de La-da na

eii

da,

vo

-

da.

part of a wedding cycle. The celebrants dance around a kettle of water, into which the young girls throw their rings. The young men then fish out the rings, thus, according to an old folk custom, selecting their future

The

tune in example 144

is

brides.

Melodies with a compass from the interval of a fourth to that of an octave constinorm on which the deductions in the present study are based, and they are amply quoted. Melodies with a range exceeding the octave are extremely rare. There are several instances of melodies extending to a ninth and even a tenth. I have personally never encountered in vocal music a folk melody encompassing the interval of the eleventh, although the folk song in example 145 was recorded by Ivan Kamburov, in the village of Orovene, Vratza, in April, 1927. tute the

"

Example

145.

52 Sung by Pena Mladenova.

i Ma-rii-ka

J

J

pis-

mo

na

stol

se-de-she,

oh, a -man,

se-de-she,

liu-bov-no

liu-bov-no

pis-mo

che-te-she.

m

UJ che-te-she,

oh,

a-man,

Mariika na st61 sed^she Oh, aman, Liub6vno pismo chetdshe, Oh, anian!

Mariika sat on a chair, Oh, aman, Reading a love letter, Oh, amanl

obvious that the phrase "Oh, aman/' has no bearing on the text. Such added freely within the regular lyric pattern and serve no other purpose than that of meeting the metric requirement. Note the interesting construction of the musical sentences. The scale on which example 145 is built is unusual and effective. Syncopation, sequences, and chromaticism do not exist in Bulgarian music. The few exceptions found in printed collections and even in the examples quoted here cannot be considered characteristic. It is

insertions, of varied length, are

51

Stoin,

Ot Timok da

Ibid., p. 698,

Vita, p. 142,

No. 2639.

No. 609.

Melody

81

HARMONY The

Bulgarian folk musician has been content thus far with purely monophonic settings for his poetry. Polyphony, which he has had an opportunity to hear, has remained foreign to his musical vocabulary and taste. Whatever addition has been made to his unisonal folk tune has never reached beyond the method illustrated in example 218, where the lower voice remains only a drone. This pedal effect appears in the folk dance, in some ritual songs, and in work songs. It is invariably present in melodies which are played on the gdida (bagpipe); in some instances the pedal is in perfect fifths. It is probable that the Bulgarian peasant could work out a system of harmony which was as much his own as the melody, the rhythm, the meter, the poetry, and the dance. The solution to many-voiced singing, however, the peasant must find without aid or interference from outside.

CHAPTER FIVE S

TR UCT URE

ALTHOUGH the various paeonic meters result from the numerous intricate unusual rhythmic groups, many of them asymsteps~of the folk dance, the similarly Thus the structure the of a outcome are direct metric, peculiarities of the folk verse. of the musical periods is a'nalogous with that of the individual measure; in addition to the simple construction of 2 + 2, 4 + 4, and 8 + 8 measures, we find others, grouped in units of 2 + 3, 3 + 4, 5 + 3, 3 + 2 + 3, 5 + 5 measures, and so on. These rhythms,

taken from the poetry and from the dance, are as normal for the Bulgarian as are the regularly accented duple and triple rhythms for the Occidental. Sometimes the melic accent of speech is disregarded for the sake of form and for the dance step, especially where the words have been added to an already existing melody or where a different set of lyrics is adapted to an older tune. In other songs the music is melogenic for purely aesthetic reasons. Observe the setting of the second verse in

example

Example

146.

146. Snoshti si (Last Night). etc.

Mo-e-to

II

-be

Pet

-

ka

-

na

The strophe consists of eight syllables, 5

(3

st

on&

Mo Sus

+

. e

+

2) --c

to

dru - go

li li

-

be be

li-bepri-kaz

susdrugo

divisible into

two groups: 5 +

-

va.

3.

3

-

Pet pri

-

na

kiz -

va

ka

or in three groups, two amphibrachs separated by_a trochee: f li-fie'

as the almost identical translation,

u

i

Pet~ka~na |

u _ u

j

My dearest darling Petkana On superficial examination the setting appears to be logogenic, especially since, in all but one instance, each word begins a new measure. The qualitative accent, however, falls on syllables that in speech are unmistakably weak. In the first measure quoted, for example, the definite article to of the possessive pronoun moe is stressed; in the second measure it is the second syllable which receives the emphasis

Structure instead of the

first.

key word in the

In measure

five

the

83

word drugo ("someone

else's"),

which

is

the

text:

With someone

else's

sweetheart

She conversed, coincides with the weakest beat of the measure. The last two measures, with the upbeat, set the word "conversed," which is here stressed by its extension over more than two measures. The result of this particular is as follows: setting

Melic accent Applied metric accent

U

^

*J

41

i^tJ

U --

!/

Ordinarily, however, the melody in Bulgarian folk songs follows the natural speech and the accent is strongly manifested, especially in dance tunes such as

example

147.

Example 147. Liubili su, Stoidn i Rdda (Stoian and Rada Loved One Another). Sung by Todorka lankova, 36, of Malko-Turnovo, July, 1926. 1

Liu-bi-li

liu

su,

-

Sto-ian

bi-li, ma-ri,

Ra-da

i

dva- ma-ta.

So closely are melody and words knitted together in this song that in order to preserve the rhythm and to allow Stoidn to appear in a new measure, the syllables ma-ri have been inserted in the second half of measure four. Mart is an idiomatic interjection and is not part of the text proper. Such methods of achieving balance are frequently employed in Bulgarian folk music. In order to preserve the melic accent, contemporary Bulgarian composers, when

providing settings for folk verse, find

it

necessary to change meter within the

phrase. Zagubila Tzona* Music by Parashkev Hadjiev.

7,

4

M

}

J>

Za

h

>

-

gu-bi

Young Tzo-na

-

J

J>

J>

la

Tzo-na

:

has just lost

J Muz

J -

her

ka

-

ta

si

ti

-

ny

ba

-

roz- ba by boy.

In actual folk-song style the entire strophe would, in all likelihood, have been without a change of meter, still preserving the division of six syllables in each

set

of the two measures:

16 Za-

gri- bi

-

la

Muz-ka-

Tzo- na

ta

roz-ba.

si

Man" devoiche nemilostivo? Music by Marin Goleminov.

5 -h

-h

J>

8 Dru-shki-te

J>

J^i-b-b^

-b

-h

||

>

J>

J

^

-h

i?.

i

ti ne pla-chesh. Za-pla-chi! Za-pla - chi! pla-chat, a not weep! Weep, oh weep!Weep,oh weep. Tonr friends are <weep-ing, but you do Notice that the 3/4 measure following the change of meter sets only five syllables, as do the measures before; Goleminov apparently felt that the stress provided by

No. 1537. ^VasilStoin, Bulgarski narodni pesni ot Iztochna i Zapadna Trakia (Sofia, 1939), p. 572, 2 Parashkev Hadjiev, Tri pesni (Sofia, 1943), p. 7, No. 22Marin Goleminov, Tri pesni (Sofia, 1941), p. 7, No. 19. The last three syllables repeat.

Structure

84

the quarter note in the middle of the measure makes possible such pathos as the even, rapid eighth note of the 5/8 cannot give. Rhythmic structures found in Bulgarian folk music may be divided into four categories:

monorhythmic, symmetric, asymmetric, and incomplete.

MONORHYTHMIC MELODIES The

melodies under this heading are undoubtedly among the oldest to be found in Bulgarian music. They provide a monotonous, rhythmless scheme, which repeats many times with different verses (example 148). The limited ambitus and

Example

148.

.t.

...

j

.........

1.

...

primitive character of the melody further strengthen the belief that the tune has origin. The arrangement of the quarter notes is such that measure three

an early

identical with

measure two; the identical repetition builds an emotional climax which nineteenth-century composers built through the sequence. The last measure, then, though identical with the first, has an entirely satisfactory cadence. The four measures have a miniature ABBA profile. Often the phrase may consist of two measures only, which are then repeated. In example 149 the difference between the two phrases is only one note; that note is so skillfully chosen, however, that it gives the feeling of finality the second time, but not the first. Through the simplest melodic means, one single note is so employed that it serves the same purpose as the half or deceptive cadence in harmonized music. Measures one and three are essentially the same. In the last measure, the interval which was a perfect fourth in measure two now has become a perfect is

similar to the sort

fifth. The pattern remains unaltered.

Example

JJ010|0c)00y,

which extends over two measures,

149.

M.M. J

=

c.lOO r

f

JMp

J^v

IJ' p

JO

IC

SYMMETRIC STRUCTURES The

relationships maintained by the various rhythmic units serving as the structural basis of the folk tunes under discussion are of a much more fluid nature than

those of figure, phrase,

and period

of

book-made musical sentences, where the

dis-

not always free from harmonic considerations. The word "group," has been adopted here to designate such rhythmic units, since they differ therefore, in concept from phrases and periods which already have a well-established meantinction

is

ing in musical terminology.

GROUPS OF MEASURES IDENTICAL IN NUMBER AND METER

The

songs in this classification may have simple metric signatures, such as 2/4 and or 4/4, irregular ones, such as 7/16, 8/16, and so on. Each group may consist of two to eight measures each.

Structure TWO-GROUP STRUCTURES

Two

measures each.

2/4: (2/4 + 2/4) + (2/4 + 2/4), or 2/4: (2 + 2). Examples are also available in 3/4, 4/4, 5/4, 5/8, 6/8, 5/16, 7/16, 8/4, 8/8, 8/16, 9/8, 9/16, 11/16, 12/8, 13/16, and 14/16.

Example 150, a song about a famous girl, is of the type last mentioned, consisting of two groups of two measures in each group, 14/16: (2 + 2). Shair

150.

Example Pomashka,

27, of

M.M.

J^s

Sha

po dvor odi

(Shair

Walked through

the Yard).

Sung by Mitza

Uglen, Lukovit, February, 1928.*

280

- ir

po

SI

ko

dvor

6

-

di

i

-

nia

si

ko

na

zvir- nia

vo

-

di,

m -

nia

Shair po dvor odi

konia vodi, I si k6nia vodi. 2alna svirnia sviri: I

si

"Aide, aide, koncho,

Aide da ideme D61o v B^rkovitza, Dolo v B^rkovitza,

vo

-

di,

zal

-

Mournful tune he whistled: "Come, my faithful koncho f Let us go together,

Down to Berkovitza, Down to Berkovitza,

Sreshto Kutliovitza,

Close to Kutliovitza,

To Berkovitza, where

Cheshma

izzidana.

da doide

Stoina Nikolova, Sas belite kotli S kriva kobilitza."

- ri.

Through the yard walked Shair With his horse behind him, With his horse behind him.

V Berkovitza ima I tarn shte

svi

There's a famous fountain.

To

this fountain's coming Stoina Nikolova, With white water-buckets Dangling from a cowlstafL"

The story or legend from which this song derives has completely disappeared from Bulgarian folklore and only the song mentioning the name Stoina Nikolova remains. It may have begun, as at least one authority believes, as a local love song centered about the village beauty, whose fame soon vanished. It is reasonable to suppose, however, from the use of both given names and surnames that the lady enjoyed at one time a much wider popularity, perhaps as a heiduk (underground) leader.

As in many of the musical examples discussed elsewhere, the perfect intervals and fifth are very conspicuous in the tonal structure (example 151).

of the fourth

Example

151.

^

r

* Stoin, Narodni pesni ot Timok do Vita (Sofia, 1928), p. 488, No. Timok do Vita. 5 Koncho is the diminutive and appellative form of K6n> "horse."

1920. Hereafter cited as

Ot

Structure

86

semicadence (example 150) falls a perfect fourth below the opening note of the songs with similar conperfect fourth above the final. The majority struction seem to divide into two equal sections of two measures each.

The

and a

Three measures each. Virtually all the metric combinations mentioned under the groups having two measures are found here: 10/16, which did not appear before,

now

is

present,

i.e.,

in

example 152. vrdni konie (There Are the Dark Horses). Sung by Nikola 6 10/16: (3 +

3), as

Example 152. Vrdneiat se Dimitrov, 76, of Komarevo, Pleven, March, 1928. Notated by P. E. Stefanov. k

MJNL

* =

*

360

Example 152

clearly illustrates

an exact repetition of the

first

group by the

The

musical ingenuity is further demonstrated by the economy of means, since the first half of the second measure is identical with the corresponding two beats of the first, and since the third measure is only a slightly varied repetition of

second.

Thus the first measure provides the musical material for the entire song. three-measure group is a result of the addition of a third measure, the words of which, although connected with the text as a whole, are not important to it. That measure, however, does help the form and provides the musical sentence with greater interest by giving each group twelve beats instead of the usual eight. the

first.

The

of 10/16 in this instance is not divided into 8 + 2 or 7 + 3, and so 4, which according to the Greek principle of hemiolia is more virtue of the 3:2 ratio between the two divisions. acceptable, by Four measures each. There is nothing unusual about this subdivision. Example

The measure

on, but into 6 +

153

is

triple

unique not because of its formal structure, 3/8: (4 + 4), but because it is in meter, which is extremely infrequent in Bulgarian folk music. The iambic

Example

M.M.

153,

^

fr-*

1

six, and eight) is also unusual. Compare measures four and eight and notice how in the first phrase the feeling of finality is avoided by the introduction of the note G which began the melody but which is a major second below the final.

meter (measures two, four,

Five measures each.

+

In the love song, example 154, we see such a structure as

The Bulgarian

folk poet-musician has frequently expressed preference for phrases which consist of odd numbers of measures. Sometimes he has

8/16: (5 6

Stoin,

5).

Ot Timok do

Vita, p. 34,

No.

141.

Structure

87

extended regular four-measure phrases by inserting an otherwise unnecessary syllable within the sentence or by prolonging the two cadences. 154. Bonka sa liubi sus Shdnko (Bonka Has Been in Love with Shanko). Sung 7 Nikolova, 26, of Izvor-Mahala, Kula, July, 1926. Notated by P. E. Stefanov. by Spasa

Example

go

The

-

na

di-

i

po

-

lo

-

vi

*

iia.

(example 154) is extremely rare in 8/16. Curiously enough, it in here measures two, seven, and nine. Measure seven is almost identical appears with measure two, but there is sufficient difference between them to avoid motriplet figure

notony. The ninth measure seems to confirm the basic idea of the fourth measure, but at the same time skillfully evades a sequential treatment. Unity and variety are thus achieved by other than the obvious

means

to

which the trained technician

resort. The thirty-second note is also rare in 8/16. Six measures each. This type is not very common. The few examples available are in 2/4, 5/8, and 8/16.*

might

Seven measures each.

Example May,

1.927.

which are

In example 155 these groups appear as 2/4: 7(3 +

155. Blaze na Dona (Lucky Dona). Sung by Zorka Notated by P. E. Stefanov. 8

Ilieva, of

4)

+

Erden, Ferdinand,

_T

M.M: J s 120

-4-

na

Bla-ze

Shte

vze

-

me

Do- na

Sto-ian, ma-ri,

I -

Pet

va-no

-

ro

-

va

via.

Note the F sharp in the first group and the F natural in the second, both approached from above. It is also interesting to observe that the seven-measure group is subdivided into 3 + 4, thus: 7(3 + 4) + 7(3 + 4). The unifying effect achieved by the first three measures of the second phrase, which are almost identical with the 7(3

7

+

4).

Ibid., p. 704,

No. 2658.

8

Six-group units are unusual in all other categories. Note that, like metric relationships, those of form closely follow asymmetric patterns. e Stoin, Ot Timok do Vita, p. 933, No. 3549. The first line of the song is, "Lucky Dona IvanoVa to be marrying Stoian Petrov." In each community, young people substitute names from the group, linking couples who are rumored to be interested in each other. Either the rumors are accurate or the suggestions potent, for marriages often result. Musicologists customarily refer to these songs as

matchmaking songs.

88 last

Structure three measures of the

In measures five

and

eight,

first

phrase,

but they

is

excellent.

differ in

The

notes are the same in pitch

number.

THREE-GROUP STRUCTURES found in almost all the meters discussed

Folk songs in

this classification are

earlier

In this chapter. Each of the three groups may consist of two, three, four, five, or six measures each: 2/4: (2 + 2-4- 2); 7/16: (3 + 3 + 3); 8/16: (4 + 4 + 4); 5/16: (5 + 5 + 5); 2/4: (6 + 6 + 6), and so on. Melodies with three such groups may be two-part strucor form. tures with a repetition of either part, the result being either an ABC. musical see three unrelated also consist of However, periods, They may example 47, where a three-group structure is of larger dimensions, 11/16: (4 + 4) 4music. (4 + 4) + (4 + 4). Such instances are more usual in instrumental

AAB

ABB

FOUR-GROUP STRUCTURES Like the folk songs under the previous heading, these may contain two, three, four, five, or six measures in each group. The most usual extension device is, naturally, that of repetition. In example 156 the melody, which consists of five measures in each group, 7/16: 5(2 + 3) + 5(2 + 3), has actually four groups when repeated: 7/16:

Example

Purva). Sung by Tzena Georgieva, Podzgni si devo, Purvo (Lift Your Veil, 10 March, 1927. Notated by Ivan Kamburov.

156.

Voinitzi, Lorn,

M.M.

Po

da

"=48

-

di-

ti

si

g;n

vi

-

dia,

de

-

vo Pur-vo,

fe

de-vo Pur-vo,

be

-

re - dze,

- lo

li

-

tze.

FIVE-GROUP STRUCTURES

Two

measures in each group. 7/16: (2 + 2 + 2 + 2 + 2), as in example 157. The unexpected recurrence of melodic fragments in dance songs (example 157, measures threefour, seven eight), instead of producing the monotony one might expect of identical repetitions and a temporary disruption of the unfolding of the melody, achieves instead a peculiar tension which is difficult to explain. Such persistent 10

No. 2693. This love song, like many others, comes from the time when Bulgarian forced to accept the Mohammedan faith and to wear dark gowns and veils like Turkish women. "Lift your veil, Purva, maiden, so that I may see your fair face," sings the young man. "I cannot [lift my veil]/' laments Purva, "for my face has already been sold; it has been bought for a thousand and five hundred" (sic). Ibid.f p. 714,

women were

Structure Trunchitza sa obronila. Sung by

157.

Example Golemanovo, Kula, December,

M-M. J

89

Neda Dikova and Nonka Tzakova,

50

=

j> Triin-chi-tza sa

repetition

is

ob-ro-ni-ia,

Three measures

-i'

effect

on

na

-

5/16: (3 + 3 + 3 + 3 + 3) (example 158).

ti

ka-zah

ti

li

J

gaz'da and the kavdl listener and performer

kdzah (Did I Not Warn You?). Sung by Stoianka Example Dolno-Tzerovene, Lorn, December, 1926. Notated by Christo Iliev. 12 158. Id noli

-i'

i

performed on the

and has an almost hypnotic

in each group.

ji

etc.

especially typical of the music

(see chapter seven), alike.

la

of

1946. 11

I

da

-van-ke, Geor-gi

ne

Iv.

Gergova, of

liu-bish,

r ne

da

Geor-gi

liu-bish I- van-ke,

che toi

dru-g-a

liu-bi,

rfj drii -

me-ras

ga

-

chii-ka.

Did I not warn you, Ivanka, Not to fall for Georgi, Not to fall for Georgi, For he loves another.

The melody consists 6(3 +

3)

in the

+ 6(3 +

3)

+

3.

of three phrases, two of six measures each and one of three: Each of the groups of six measures set fifteen syllables, nine

three measures, plus six in the second. as compared with the measure grouping is first

r6

-i

Thus

the distribution of syllables

r 6-1 3=15

Measures

3 + 3+ 3 +3 +

Syllables

9 + 6 + 9 + 6 + 6 = 36

Such strophes in Bulgarian folk music lend themselves to 9/16 meter frequently set thus:

la l

2

/6id v p.875, No. 3265. Ibid., p. 491,

No. 1934.

na-li

ti

ka-zah, I

*

van-ke,

etc.

and are

Structure

go The

pattern of one sixteenth note to a syllable, five to a measure, has been established in the third and ninth measures to provide the setting for [did I not] "warn you, Ivanka," and [not] "to fall for Georgi." Such a proceciure is very unusual for a measure of 5/16. Ordinarily the text would have been set as follows:

and

Ka

zah

-

Hii

-

bish

The

sixteenth-note motion in example 158, including the word "Ivanka," which by no means essential to the text, has been introduced for the sake of greater rhythmic variety and a more graceful melodic curve. Four measures in each group. 8/16: (4 + 4 + 4 + 4 + 4), as in 159. is

example

Example

159.

Vasilovtzi, Lorn,

M.M,

s

Kapndla mi e kdpchitza (A Raindrop 13

.

.

Sung by Toma Videnov,

61, of

September, 1926.

320

na

si- tza,

.

Fell).

ma-mo

raz

-

na-sha

bu-di,

.

.

da

.

ma-mo na

mi

ia

.

.

.

li -

da mi se

tze,

ma-mo po

-

liu-bi.

A raindrop fell, and a dewdrop fell,

And wakened a beautiful maiden. Here

each strophe consists of eight syllables, spread over four measures. The relationship between poetic stress, rhythm, and meter is noteworthy. There are three syllables in the first measure, two in the second, only one in the third, and two syllables in the fourth measure. The pattern of the first group repeats' four

12 times. In measures ten, fourteen, the insertion of various names of

and eighteen the melody makes provisions for boys and girls of local prominence and interest.

SIX-GROUP STRUCTURES

Two

measures in each group.

Ibid., p. 906,

No. 3412.

9/16: (2

+2+2+2+2+

2), as

in

example

160.

Example

Structure nema (There's No One

Kato Gana nide

160.

Like Gana). Sung by

Vuna

P.

14 Pelovska, 42, of Vidrare, Teteven, March, 1929.

Za-tri-la si Ga-na

kri-vo pe-ro,

-vo pe-ro Ga-na ^

kri

j

j Gan-chi-tze

9

le

Ga-no,pi-

le

K 1

-^

~f

Pfrl'JTJlH

Gan-chi-tze Zatrila

si

le

Ga-no,

Gana

pi

p

EJ*''P

le

ra

-

-

'I

8

I

[j

na

es

ra-no,

^ JT

go-re Ga-no,

>

p

pa-u

-

nio-vo.

K

J

1

na do-le,

es

pjl.J'JiJL^Efe

es na go-re Ga-no ? es na do-le.

no,

Gana stuck a feather in her hair, Feather of a peacock.

krivo pero,

Krivo pero, Gana, pauniovo, Ganchitze le Gano, pile rano, Es na gore Gano, es na dole. Hodih gore/Gano, hodih dole, I po Tiirsko, Gano, i po Vlashko; ViMaii momi, Gano, viMaii bulki, Kato t^be Gano, nide ne"ma.

I

traveled east

and

I traveled west,

To the land of the Turks, To the land of the Vlachs; I

looked at

And

all their girls at all their womenfolk,

Found none

fair as

Gana.

There are several striking features in this spritely melody besides the melodic and tonal peculiarities. Ordinarily, the treatment of the elongated unit at the end of the

Tl or as J J J , providing a measure in 9/16 appears as one beat, as one and three syllables, respectively. Here, however, the three sixteenths

setting for

are so divided as to

accommodate two

syllables (measures

one and three),

<J

J J

;

Ga-na variant in measures

five,

seven, nine, eleven: j\ J^

Ga-na be noted that

treatment

linked constantly to the girl's name, Gana, which is mentioned in every strophe of the original, a common practice in folk verse. The division of the last three sixteenths in 9/16 of the type discussed It sjiould

this

is

on pages 29 and 30 is not so frequent as J J J or J^ P . Three measures in each group. 7/16: (3 + 3 + 3 + 3 -+ 3 + 14

Ibid., p. 1056,

No. 3946.

5),

as in

example

161.

Structure

g2 Example 16L Libe

le,

libe

denguba (Sweetheart, Daydreamer, Sweetheart). Sung by 1927. Notated by P. E.

Giurgia Atanasova, 20, of Karbintzi, Belogradchik, January, Stefanov.

15

M.M. J Ji=50

Li-be

le,

li-be den

no-shtemza

ne gu-bi

-

-

-

gu

le,

-

dfi,

ne tro-pai stol-che na-praz-no.

lu - du,

Libe

no-shtemza- lu

ne gu-bi

ba,

libe

denguba

Ne gubi noshtem zaludu, Ne tropai stolche naprazno. Mama me za tb ne dava Che

rni se

Na moite

sm^la maika ti, tunki darove.

her suitor a song (example 161) the maiden who is being courted calls his days and nights wooing her in vain. She wastes for he a dengub, daydreamer; does not commit herself. Instead, she reports the sentiments of her mother. Among the peasants, the mother has a great deal to say about whom her daughter shall marry and when. Says the girl in the song:

In

this

My mother refuses

to give

me

to

you

Because your mother has made fun of me,

And she has called my dowry slim. Four measures Example

in each group.

2/4: (4

+4+4+4+4+

4), as

in

example

162.

162.

M.M. J

=

140

Ta-fri se, Rat-Ice,

-

gi

zdi

che

se,

J da-no

-

sto

mi-na-vai

krai

na-ze,

J te

ma -ma

ha

-

da -note

ma -ma

ha-

sta- nesh, na me-ne

bul-ka

da

re

-she,

re - she,

3 na ma-ma sna-ha

da

Tafri se, Ratke, gizdi se, Ch(sto minavai krai naze,

mdma harshe, Na mama snaha da stanesh Na m^ne bulka da stanesh. Dan6

15

Ibid., p. 652,

te

No. 2478.

sta-nesh.

Fix yourself up, Radka, sweetheart,

And pass by our house often.

My mother may come to like you, And want you for a daughter-in-law As

I

want you for a

bride.

Structure

93

SEVEN-GROUP STRUCTURES

Two 163

measures in each group.

is

7/16: (2 + 2 + 2 + 2 + 2 + 2 + usually sung by two groups of singers responsively.

Da kugd

163.

Example

Toma Videnov,

by

First

ni drugdr ddvash

61, of Vasilovtzi, Lorn,

2).

The song in example

(How Long Can Our Friend Be with

Us?).

Sung

16 September, 1926.

group of singers

M.M. J

Da ku

-

dru-gar da

ni

ga

-

vash, dai

ni

dai.

ga,

Second group |i

J.

|i

Du ku First

-

ga

[!

vi

|

m

|

dru- gar

da

-

vam

na

vi

g-a,

J

J>

J>

na.

group of singers

^5 -Stvo- ri

de

-

u sus

-

voi

-

pa

-

Ji

mu ke zu

nie- ga

-

gle- da-

-

ga

o

ga

ku

hfi

pu va po- no -si -

se

po-gled-va--

-

-

-

lo,

:||

J |

6

-

che-mo,

6

-

che-mo.

le, le,

le.

The first two measures of the last line (third group) repeat four times in each stanza, every time with different lyrics. Four measures in each group. 7/16: 8(4 + 4) + 8(4 + 4) + 8(4 + 4) + 4, as in example 164. Example

164.

Played on the kavdl by Petko

S.

Todorin, of Mekresh, Kula, February, 1927,"

EIGHT-GROUP STRUCTURES

Two (See 18 17

measures in each group.

example

These are usually repeated four-group

3.)

/bid., p. 892, No. 3349. 1 bid., p. 1083 (erroneously printed in the original collection as p. 1803),

No. 4052.

structures.

Structure

94

Three measures in each group. Some of these are the result of repetition of broader sections; others are constructed more concisely, repeating smaller groups, as in

165.

example 165.

Example

M.M. J

^

=

Hdrd

igrde.

Sung by Vuna

t52

E^ Ho

ro

-

-

i

gra-

m5^ -

gle

da

mo

is

na

-

-

E& P

^

e

pod mo

U

J

U

-

na

sti -

-

ka

ra,

~

lu

ger

b^^-f

ka-lu

|j?

j

m

5 -

"J'.MJ

sti-ra,

=1

-

ger

gle

da

t

mo

is

N U

ir j.J

r

-

J

444 4444 na

The (2

18 Teteven, March, 1928.

P. Pelovska, of Vidrare,

-

sti - ra,

structure

+ 2 + 2) +

in

+2+

(2

2)

mo

is

165

Example

+

(2

+2+

na

-

2)

is

-

sti

ra

-

is

-2 + 2) +

2/4:

+ (2 + 2 + 2). The

pen- dzu

-

+2+

+

(2

2)

structural designs

-

li

re- to.

(2

+2+

may

2)

also

+

be

represented as 2/4: 12(6 + 6) + 12(6 + 6), or 2/4: 6(3 + 3) 6(3 + 3) + 6(3 + 3) + 6(3 + 3). The tied note over the bar line at the end of measure twelve and the upbeat in the following measure are not at all usual, especially since they disturb the poetic meter. The melodic structure reveals an A-A-A-B-C-A-A-B pattern. i.

2.

j ro

-

&

Ka

.

u

.n Ho

*

J

I

I

"~

lu

ger

-n

i

Ka-lu

-

n

gra

J

**

-

i

i

J<^ ger

-

Q O

j

i

e

J


I

J

u

j mo

^ mo

gle

-

da

is

J

\O

gle

-

da

is

J mo

sti

-

ra

is

pen

-

I

-

^

I

sti

-

i

ra

-

U

\&

J

j

-

J

-

na

-

sti

I

na

-

n

i

na

ra

J

sti

-

ra

re

-

to.

4.

Is

mo

-

na

-

-

dzii

-

The setting of the first group is not conventional, as J J J does not correspond to a combination of iambic and arnphibraic I

J feet.

Jj J The same is |

true of group three.

The

U_

poetic stress falls thus: Ho-ro i-gra-e,

_u

and

ka-lu~ger gle-da, in both instances

--

which has been changed to V u Groups two, four, six, and eight (example 165) are built on the same combination of poetic feet as the first group, but the scansion of the poetry shows that the stress falls thus: pod mo-nd-sti-ra, or two heavy accents only, demanding two measures for all five syllables. An effort has been made to set words which are of hyper;*

I?

Ibid.f p. 1026,

,

No. 3839.

:

.

Structure

95

- 41 v - U

into three measures, as y U.It Is obvious that the tune, being primarily for dancing, has disregarded the poetry. Otherwise the musical setting would have been simply

metric trochee

J

.

Ho

-

J.

^

ro

i

-

gra

-

e

pod

mo-na

-

sti - ra

The amusing

story told in this song is one of many dealing with the clergy of the Orthodox Church. group of young girls is dancing on the monastery green. young monk watches them from a window, lamenting that he had not seen these

A

A

girls

a year ago, before he took his vows. Upon which the maidens whisper to him not too late. If still interested, he could forsake his black cassock even

that

it is

now.

He

then comes out of the monastery and proposes to Minka, the most beaugroup.

tiful of the

REGULARLY REPEATING GROUPS CONTAINING IDENTICAL NUMBERS OF MEASURES OF DISSIMILAR METERS

The

musical periods in this classification are themselves symmetric, but the individual groups are asymmetric in construction. The melodies may consist of two, three, four, five, or six groups, each group containing any number of measures

from two

to five.

TWO-GROUP STRUCTURES

Two

measures in each group. 9/16, repeated twice.

Example

166.

Gleda brdta

of Dalni-Lom, Belogradchik,

Example 166

(Watching Her Brother Plow). Sung by Doka November, 1926. Notated by P. E. Stefanov. 19

vo

Three measures

two measures, 7/16 and

si

shto

(example

consists of

in each group.

A

da

gle

pattern of (5/8 + 4/8

4-

Iv.

Pardina, 60,

-

te.

3/8), repeated twice

167).

Example 167. Proklet da e (Cursed Be the Hour). 20 Lorn, December, 1926. Notated by Christo Iliev.

Sung by Nedelia Kirova,

56, of Golentzi,

M.M. ^=200

Pro-kletdae

tos chas,

mai-ko

koi-to me-ne

me

zgo

-

dih-te.

The bride curses the day that her mother forced her engagement to a man she did not love, for her lover had fallen ill and died of grief on the day of her wed10

20

Ibid., p. 388,

Ibid., p. 686,

No. 1569. No. 2593.

Structure

g6

ceremonies are taking place in the church simultaneously; her own wedding and the funeral services of her beloved. Four measures in each group. A pattern of (11/16 + 11/16 + 5/16 -f 5/16), reding.

Two

peated twice (example 168).

Example

168. Pofdlila se

63; Kolio Stepanov, 65;

Neshov;

all

I.

Milkina mdika (Milka's Mother Bragged). Sung by Diko Petkov, 53; Lalo Gechov, 53; Tzaki Christov, 53; and Kocho

Nacho Tzachov,

of Rakita, Lukovit, February, 1928.

21

J^sS304

Po-fa-li-

la

se

Mil-ki-na

ko

mai-ka,

-

la

do

-

le,

Milka's mother bragged there was no girl like Milka.

That

Five measures in each group.

A pattern of 2/4 + 3/4 + 2/4

-f

2/4

4-

3/4), repeated

twice (example 169). Christena Example 169. Velo le, golem gidvole (Vela, What a Flirt You Arei). Sung by 22 Tzvetkova, 31; and Raina Tzvetanova; o Cherven-Breg, Lukovit, February, 1928.

M.M. J

140

=

-

go-lem gia-vo

le,

le,

Ve-lo

go-lem gia-vo

le,

-

le.

What a flirt you are, Vela, Don't cause me any trouble, For I have troubles of my own And have no time for yours. Six measures in each group. repeated twice (example 170).

A

pattern of (2/4

+ 2/4 + 3/4 + 2/4 + 2/4 +

3/4),

Example 170. Sung by Giurgia Ivanova, 20, of Sredogriv, Belogradchik, November, 1926. Notated by P. E. Stefanov/*

I

? bre

Oil

of

chir

che,

shlia-gar

che,

PS^| za-shto

ti

e

Zasht6 ti stido bleinalo Dali ti st^do ialovo Hi ti stddo bolnidvo?" 1

7,

No.

78.

Ibid.* p. 175,

blei-na

-

lo?

"Oh, young shepherd, pray do tell us Why your flock is sadly bleating.

"Oii, bre ofchirche, shliagirche,

id., p.

do

sta

Is it

because they are barren, they all are ailing?"

Or because No. 755.

88

Ibid., p. 698,

No. 2657.

Structure "Niti mi e stado ialovo, Niti ml e stado bolniavo, Nel mi e surdtze raneno,

97

herd is not at all barren, not barren, nor is it ill.

"My Is

my heart that is wounded, my sweetheart's being engaged

It is

Che mi

For

Prez V des^to selo Negotin."

Nine villages away from here In the village of Negotin."

se libe sgodilo deVet sela v dese"to

THREE-GROUP STRUCTURES measures in each group.- A pattern of (13/16 + 9/16), repeated three times (example 171). Example 171. Oii, Leno (Elena, the Green Hay Is Burning). Sung by Tzana Marinova, 40,

Two

of Krushovitza, Pleven, March, 1928. Notated by P. E. Stefanov. 2 *

M.M. Jl 320 t

ze

E

Le-no, Le -no,

Oil,

-

le - no,

Three measures

iz

in each group.

-

-

le - no,

go

-

Iz

re

se

-

no

-

go

-

ze

re

-

se

-

no

le -no.

A

pattern of (7/16 + 5/16 + 9/16), repeated three times (example 172). Example 172. Libe Petkdno (Sweetheart Petkana). Sung by Kana Todorova Kotzeva, 45, of 25 Virovsko, Bela-Slatina, December, 1927.

Li

-

be Pet

*

da

*

i

-

-

ka-no,

ia-ze shte

Pet-ka-no,

----' ni

da

na voi

-

tzi-te

li-be

gla-va-tar.

The newly married husband

has to depart for the front, and leaves instructions for his wife to be faithful. But he is careful how to phrase his advice: Sweetheart Petkana,

when

I

go,

Don't wear your bridal finery, Don't go early to fetch water, Don't you go near Gurgul's fountain. Gurgul's name's not all it might be,

And you know how neighbors gossip. Four measures

in each group.

three times (example 173). 24 Ibid., p. 322, No. 1344. 23

1 bid., p. 439,

No, 1732.

A pattern of (9/16

-f

5/16 + 5/16 + 9/16), repeated

Structure

98 173. ftkrdde

Example

Todor (Todor

Stole Stoian's Oxen).

Sung by Todora

Mitrovtzi, Ferdinand, October, 1927. Notated bv P. E. Stefanov.

Ilieva, 40, of

20

maa-li

vo-lo

ve.

Five measures in each group. A pattern of (9/16 + 9/16 + 7/16 + 7/16 + 9/16), repeated three times (example 174). It is interesting that each group should change

meter at the last measure, just to set one syllable. That might easily have been done with a measure of 7/16. It was probably felt that the transition from one group to another each setting a new strophe would be much smoother if the meter of the new line were introduced at the end of the old, giving a natural semicadential effect to each line.

Example 174. Zdlba (Grief). Sung by Ivana Ivanova, 30, of Gorna-Luka, Ferdinand, Sep7 tember, 1927. Notated by P. E. Stefanov.-

M.M.

A 304

Ne

ne

me

me

e

e

no me

zal-ko, ma-le

zal-ko, ma-le

e

le,

le,

zal-ko, ma-le

le,

che she

che

she

che

bli

se

se

-

o

o

zo

-

-

ze

-

ze

doi

ni,

ni,

-

de\

I do not grieve, Mother, That he is getting married, But I do grieve, Mother, That he will live so close by.

FOUR-GROUP STRUCTURES These present no unusual feature from the structural and rhythmic point of view; therefore they have been omitted from the present discussion. FIVE-GROUP STRUCTURES

The

illustration

peated 20

27

(example 175)

five times.

Ibid., p. 829, 1 bid., p. 327,

No. 3088. No. 1363.

is

based on a pattern of (11/16 + 5/16 + 5/16),

re-

Structure

99 Tako Atanasov,

175. Id stdni,

Stdno (Get Up, Stana). Sung by 8 Lorn, December, 1926. Notatcd by Christo Iliev.-

Example

M.M. ^

s

75, of Golentzi,

360

=

rriiM

la sta-ni, Sta-no,

da sta-nem da

sta-nem,

o

ti

ma - na -

vra-ta,

PP

P ?

ne-mo-zem a-go,

tvo-ri,

^

* zad

-

io

ba-shta mi

tvo-rim,

mu

ra

da

e

le-zi

ru -lea.

iu

SIX-GROUP STRUCTURES

From

the very few melodies available in this rhythmic structure, the one given here (example 176) consists of six two-measure groups of (13/16 + 9/16). The metric

Example

J .ra

176. leleno,

mome hubava

M.M. &z 304 - ff m ^ ig 16 r p p I

(Elena, Pretty Maiden).

JTT^TJl J3 16 ^^

-

le-no,mo-me

mli-di-te mom-tzi

I- le-no,se-no

1

-

r yj^J gLf p hu - ba -va,

ko

ze

-

-

si-li,

le -

no

I

I

^

?^~r

ff

^

I
p

p^T*

I -

^

le-no, se-no

mla- di-te mo-mi

I

-

^

le-no, mo -me

I 1

J^ d3k

9 J w

1^>

ze-le-ho,

be

-

ra-li,

hu-ba-va

melody of this folk song is extraordinary. The 13/16 is a measure a half beats, more or less subdivisible into 4/8 + 5/16 (example 34), whereas 9/16 is a measure of four and a half beats (see discussion on pp. 29 ff., interest of the

of six

and

2/8 + 5/16. Comparing 4/8 + 5/16 with 2/8 + 5/16, we see that 2/8, or two beats. In the first measure, which consists of six beats, beats are combined, so that the entire measure sets only five syllables.

and example

29), or

the difference

is

the first two This device is consistently used throughout the song and provides leleno four times and mlddite twice with the proper stress. The treatment of 9/16 is similar, the measure setting only three syllables in all instances. (See example 31 and the discussion on 9/16 in connection with examples

29 and

30.)

interrelationship among the groups is also unique. The entire structure divides into three groups of four measures each. The second group contains ele-

The

28

1 bid., p. 322,

No. 1346.

1OO

Structure

ments of the first group (measures seven, eight); the third group would have been an exact repetition of the first had it not been for the second measure before the end, which comes from the second group. The entire structure divided in this manner is as close as we have come, in the examination of Bulgarian folk music, to an frustration of the ABA type.

REGULARLY REPEATING GROUPS CONSISTING OF DIFFERENT NUMBERS OF SIMILAR MEASURES Only rhythmic structures with unusual schemes

are illustrated.

Among them

are

four-group structures with the following combinations: Pattern of 2 + 3 + 2 + 3, as: (8/36 + 8/36) + (8/16 + 8/16 + 8/16) + (8/16 + 8/16) + (8/16 + 8/16 + 8/16). Pattern of 2 + 4 + 2 + 4. Pattern of 3 + 2 + 3 + 2.

Pattern Pattern Pattern Pattern

of 3 + 4 + 3 + 4. of 4 + 2 + 4 +

2.

of 4 + 3 + 4 +

3.

of 4 + 5 + 4 + 5 (example 177).

In example 177 the melody is constructed very much like a double period. In both instances (measures six and twelve), what seems like an extra measure has been added for choreographic considerations.

Example

177.

Pattern of 5 + 4 + 5 + 4. Pattern of 6 + 5 + 6 + 5 (example 178).

Example 178. Mdika Irinka godidva (Arranging Irinka's Engagement). Sung by Efimia 29 Tzvetkova, of Progoreletz, Lom, February, 1927. Notated by Ivan Kamburov. *

^^ M.M. JrlOO

Mai

*

ka

I

^-^

-

rin

-

ka

-

dia

-

m

va,

etc.

Structure

101

Notice the interesting modulation in the third group. ~

Pattern of 6 +

~

3

REGULARLY REPEATING GROUPS OF DISSIMILAR MEASURES There

are only a few examples of songs thus constructed. Each is a four-group structure with two, three, or five measures in each group. Example 179 is given not only because of its unusual structure but because of its musical interest as well.

Example by

179.

Sung by Spaska

P. E. Stefanov.

Stoilova, 22, of Zivovtzi, Ferdinand, October, 1927.

^^

V

Sn6

-

-

sno

nak,

nak

Snoshti doide

chuz-di

doi-de

shti

na ko

iu

Notated

30

u

-

shti

nak

-

doi

-

na

nas

chuMi iunak u nas na konak.

iu

u

nas

chuz

de

ko

-

di

nak.

A strange iunak came on horseback to the house one night.

Sed(^

dva dni, sede

tri

dni, sede" nedelia.

Sutrom rano chuMi iunak konche la

si

konche

stega,

nano, iska da

si

st^gna,

be*ga,

A rnom^. mu iuzda durzl, mu govori: i

"Sedi iunak, sedi sirak, sedi ne odi."

He stayed two

days, he stayed three days, he stayed a week long. Then the young man saddled his horse at the crack of dawn, Saddled his horse and was ready, ready to

depart, the maiden, the the reins and spoke:

When

young maiden, held

"Don't go, hero, don't go, stranger, don't go, please stay here!"

Both the rhythmic and metric

structures are very unusual:

(7/16 + 5/16 + 5/16 + 5/16) + (7/16 + 5/16 + 5/16) + (7/16 + 5/16 + 5/16 + 5/16) + (7/16 + 5/16 + 5/16).

The

and third groups consist of twenty-two potential beats each and set eight of the text. The second and fourth groups, while consisting of seventeen syllables sixteenths each, set only five syllables. The actual number of beats in the melody, first

however, reaches the total of thirty-two, setting twice the first strophe, which contains thirteen syllables. The fourteen measures, although of dissimilar metric values, of either two or three beats, are so handled that there are always two syllables to each measure. (The only exceptions are measures seven and fourteen, the

semicadence and the cadence.) Although the musical scheme of the .524, No.2042.

first

half of the

Structure

1O2 phrase

is

(7

+5

altogether: 4-1-4

Text

5

+

+

5,

-f

5)

+

5),

the poetic scheme falls Into a different pattern

-

iu-nak

chuz-di

doi-de

- O

scansion

+54

thus:

Sno-shti

Poetic

(7

na ko - nak

nas

u

U -

II

-

U O

b J> stress

ASYMMETRIC STRUCTURES These may be constructed in four different ways: by combining groups of similar measures; by combining groups of dissimilar measures; by incorporating ordinary and paeonic meters; by the insertion of exclamations, caesuras, or syllables un1

related to the text words.

SEVERAL GROUPS OF SIMILAR MEASURES COMBINED are perhaps more numerous and songs which are grouped under this heading more varied than those of any other single category mentioned in this chapter. A song may consist of a simple two-group scheme such as 2/4: (2 + 4) or of a much more complex one, as, for instance, 7/16: (3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 + 3), The illustration quoted in example 180 contains nine groups: 5/16: 6(4 + 2) + 6(4 + 2) +

The

Example 180. Izlidzla na piitia (She Came Out on the Street). Sung by Velka Christova, of 31 Malka-Brestnitza, Teteven, March, 1928. Notated by Raina D. Katzarova.

M.M.

*

Ji =

60

ife

....

Iz-liaz-la

kri-vo

sus

pe

-

Ba

pu

-

-

pet -lio

ro

na

tia,

pu

pet- lio

vo,

-

-

tia,

vo,

PP sus kri-vo

pe-ro

pet -lio

-

ve-ter

vo,

veil,

^ ve-tur

veii,

PP liu

-

le

pet

-

lio-vo

pe

-

TiT^ -

e

ro

>.

siir-tze

liu

I

-

J

le

1

kup-ne

She came out on the street, on the street, With a crooked cockerel's feather, cockerel's, With a crooked cockerel's feather. 3i

Ibid., p. 937,

No. 2574.

} -

e.

Structure

103

The wind blows, the wind blows, And the cockerel's feather sways, feather sways, And hearts are yearning.

The form the

of the

melody in example 180 may be considered a double period,

of sixteen measures

(five groups), the second of fourteen (four groups). construction of the second period does not resemble that of the first. The pattern of the poetry is also different in the second group. In measures two and first

The

twenty-seven, where in the Bulgarian version the name or names occur, they would vary with the occasion and the locale. This is typical of songs of the refrain or type. The complex rhythmic scheme of the melody will become acceptable after study of the detailed analysis of the poetic pattern:

burden

First

more readily

period

Iz-lia-zla

na pu-tia/ na

6-syllable strophe, 3 syllables repeated. 8 syllables, 3 syllables repeated. 8 syllables.

pu-tia, (9)

Sus kri-vo pe-ro pet-lio-vo/ pet-lio-vo, Sus kri-vo pe-ro pet-lio-vo. (8)

(1 1)

Second period Ve-tur

ve-ii,

ve-tur

ve-ii, (8)

Pet-lio-vo pe-ro liu-le-e

Sur-dtze kup-ne"-e.

4-syllable strophe repeated. 8 syllables, 3 syllables repeated.

(1 1)

5 syllables.

(5)

Poetic pattern (9

+

ll

+

8)

+ (8+ll+5)

See also example 33, with the following structural pattern, 11/16: (2 + 2) + (4 + 4); example 43, 10/16: (2 + 2) + 3; example 51, 12/16: (2 + 2) + (2 + 2) + (4 + 4); example 88, 8/16: (4

-f

4)

-f

6;

example

89, 2/4: (5

+

5)

+

(4

+

4)

+

(4

+

4)

+

(4

+

4).

GROUPS OF DISSIMILAR MEASURES COMBINED Here again there are a great many examples. The structures may consist of anywhere from two to ten groups, with different numbers and kinds of measures. Some of the structural formulas are: (3/4 + 2/4) + (3/4 + 3/4)

+ 3/8) + (4/8 +4/8 + 4/8) (3/4 + 4/4 + 3/4 + 3/4) +(3/4 + 4/4 + 3/4 + 4/4) + (3/4 + 4/4 + 3/4 + 4/4) + (3/4 + 4/4 + 3/4 + 3/4)

(4/8 + 4/8

(5/16 + 5/16 + 3/16) +(5/16 + 5/16 + 5/16) + (5/16 + 5/16 + 5/16) +(5/16 + 5/16 + 5/16 + 5/16) + (5/16 + 5/16) + (5/16 + 5/16 + 5/16) '+(11/16 +11/16) +(11/16 + 5/16)

On extremely rare occasions the asymmetric schemes are interrupted by unmeasured fragments. In example 62 (p. 49) such an insertion appears twice. This folk song, which has about forty strophes, tells of an epidemic which has taken the sister, the brother, and the brother's wife. The mother of the household beseeches her only remaining son to put on the best clothes of his dead father, for she does not know how long either of them will live. Since this same story, always connected with the name Stoian, appears throughout Bulgarian folk song and folk tales in many variants, it is possible that it is based on an actual incident, otherwise un~ remembered and unrecorded.

Structure

104 The two unmeasured

different words of phrases are identical musically, but set the text; each phrase sets five syllables. The setting as a whole is very free and there is no attempt at repetition of any of the musical Ideas until the twenty-first measure.

See also example 57, which has an interesting structural formula, 5/16: (4 + (9/16

9/16

-f

4-

ORDINARY AND PAEONIC METERS INCORPORATED consist usually of quarter and eighth

Such combinations (example 181) quarters and

sixteenths, the sixteenth note retaining

181.

Example

M.M.

Pav

4)

H-

5/16 + 5/16).

Sung by Tasa Georgieva,

notes, or

value throughout.

its

44, of Chorlevo, Lorn,

82 December, 1926.

P=

-

la

le

-

no

Sta

gel,

-

BO

INSERTION OF EXCLAMATIONS, CAESURAS, OR WORDS UNRELATED TO TEXT

The exclamation may

occur anywhere, and there may be more than one. It may be combined with a caesura. Such insertions usually occur on strong tonal points, as in example 182. The word hei in measures five and fourteen does not belong to the text but serves as an extension of the melody. (See also examples 107, 110, 131, IBS, 135, 186.)

Example

182,

Notated by P, E. Stefanov, in RuSintzi, Belogradchik, January, 1926. 83

'

T

'

ge-ni, be-ni

o

ge *

-

gun go

-

ni

ni,

No. 3584. zU,p. 850, No. 3164.

Ibid., p. 938,

'

I

var-dim

se,

*

kur-shim ple-tu

var-dim se,

bu-kli ka-rai, ka-rai du-sho de,

- ri

be-

'

I

Kur-shim ple-tu

u

ku- shti- tza

f bu~kli

o

-

u

gun

go

-

rai

du

-

hei.

ku-shti-tza

ri,

hei

sho

de.

* ka-

rai,

ka

-

Structure

105 The caesura within the phrase is as effective in lyric as in dance-inspired songs. In many of the examples available, the text is interrupted temporarily and may be taken up again immediately after the caesura. It is possible that the words may have become overfamiliar and the omission is thus aimed at greater variety; or perhaps the omission has been made at strategic points to give the remaining words a double meaning. The catalectic verse is frequently found in dance as in songs,

the

Macedonian tune from Razlog (Mehomia), example

183.

The

peasants sing as they daijce; in the middle of measure six the singing suddenly stops, while the dancing continues to the end of the phrase. The singing is then resumed.

Example

183. Tri

dni

i

tri

noshti (Three Days and

Three

Nights).

M.M. J =160

m

CT

m Tri dni

i

tri

no-shti,

le-le

tri

dni

i

tri

no

Three days and three whole nights, Le-le, three days and three ni .

In his Illustrovan muzikalen rechnik, Ivan Kamburov gives an interesting mel184) taken from Dobri Christov's collection of Macedonian folk songs.

ody (example

Example 184. LiYely *

3*

_

I will I will

^

buy her slip buy her slippers,

So she won't go bare

Won't go barefooted. Elliptic verses are especially

sense songs.

common among

the humorous, burden,

and non-

INCOMPLETE STRUCTURES

Songs incomplete as musical ideas are usually crude and may be only one measure in length, or perhaps two or three measures long, repeated in whole or in part

(example

Example

185). 185.

So - ki

kre - kat

*Ivan Kamburov, Illustrovan mtizikalen rechnik

gran

-

gan-gar

(Sofia, 1933), p. 108.

io6 The

Structure

last note of the fragment is usually on some weak tonal degree and is so short that the ending is abrupt when the last poetic line is sung. The range of melodies thus conceived is extremely narrow, and the turtes generally are of improvisatory character. At times an exclamation may be added at the end (example 186).

Example

186. Zlatokrila

(Gold-plumed Partridge). Sung by Maria Tzekova

idrebitza

35 Peniashka, 84, of Caliche, Orehovo, October, 1927.

M.M.

J=60

/7s

,

|T

Zla

-

to

-

kri

-

ia - re

la

-

bi

-

tza

ko

Gold-plumed partridge, gold-plumed partridge, Sing not early in the meadows, For they plan to take you captive

And cut off your golden Fragments as brief Example

IS?.

as three

feathers.

measures (example 187) are often so constructed

as

38

Allegro i

r

J

'i

J"J

J'J

and a period. The structural-aesthetic and psychoprotasis-apodosis seem to be met satisfactorily in this song. Other melodies, with similarly simple construction, represent a more extended phrase (example 188), which repeats many times, setting each couplet twice. 37 Example 188. Potdino Rdda godia (Rada Was Secretly Engaged). to represent a motif, a phrase,

logical

demands of

M.M. J

=

12O

Po-tai-no

Ra - da go

-

di

-

a,

po-tai-no

Ra- da go-di

-

a.

The repetition of one degree of the scale, or the repetition of a single pattern, is often characteristic of the songs studied. Most of the melodies are rather short, in one part, sometimes in two. Melodies with three distinct phrases frequently have material which is common to all three parts, as in example 176, but it is not infrequent to find the three phrases entirely independent of one another, in ABC relationship.

The 189,

is

ternary form is virtually unknown. In fact, the humorous song, example one of the few in which the first group is identically repeated after the

second. (See also example 176.) 33 The syllable ko here does not belong to the text. This song is one of many everyday songs. According to Vasil Stoin, it is sung in southwestern Bulgaria. The singers climb to the rooftop, circle the chimney, and pour wine down the chimney. Until the twentieth century most village houses were low, one-story buildings with thatched roofs. Stoin, Ot Timok do Vita, p. 170, No. 734.

^Dobri 87

Christov, Technicheskio stroel . . (Sofia, 1928), p. 41. Vasil Stoin, JKuin bulgarskite narodni napevi (Sofia, n.d.), p. 74. .

Structure Example 189. Sung by Maria Notated by Christo Iliev. 38

M.M.

"=

107

Iv. Gonchova, 60, of Staliiska-Mahala, Lorn, January, 1927.

FINE

420

E Po-shei e ta-to che koi shtedoi-de

na vo-de-ni-tza, na vo-de-ni-tza sus ko-les-ni-tza, se-ga da doi-de, che ne-ma ma-ma, che ne- ma ta-to. D.C. -

\f sus

ko-les-m-

s ku-sa

tza

ma-ga-

ri- tza

sku-sa

lu

-

zi-tza.

Father has just gone off to the mill, So come, my young friends, and make merry, While neither Father nor Mother is home.

a

Identical musical repetition is quite usual, and may repeat the same text or set strophe or strophes. In the former, the repetition may consist of:

new

Repetition Repetition Repetition Repetition

first phrase only, as in example 153. of the second phrase only, as in example 90. of both phrases, as in examples 34, 101. of the first phrase after the second, which is extremely rare (example 189).

of the

Less usual structures may have any one of the sections repeated an indefinite of times, as in example 163 (p. 99), thus resulting in an extraordinary

number

design. (See also

example 165, p. 94.) Raina D. Katzarova has found the following

epic recitative alone:

AB AAB ABB ABC AAAB AABB ABAB ABAC

different formal structures in the

89

ABA (transposed a fourth lower) C ABBB (slightly altered) ABBC ABCB AABAB 1

ABB, B B 3

ABCBCand ABCBC, ABCA,D

ABCDD, AA X BCBC

ABACCD ABCC CD ABCDCD ABBCBBC ABBCDEF X

In his conception of rhythmic architecture, as in his concept of meter, the Bulgarian peasant has shown that he is guided only by the desire to express himself in a way natural for him. The raison d'etre for the tremendously complex forms is the textual content and not the formal scheme. With his honesty, naivete, and craftsmanship, the Bulgarian folk musician achieves his artistic ends by methods

which are 88

as instinctive as they are

Ot Timok do

unorthodox.

No. 1914. 88 Raina D. Katzarova, "Dneshnoto sustoianie na epichnia narodnia etnografski muzei v Sofia. Stoin,

Vita, p. 486,

recitativ

v Bulgaria," Izvestia na

CHAPTER

SIX

TYPES

categories is at best an artificial one, and like of simplification may be open to divergent interpretations. The processes classifications offered here are to be considered chiefly as an aid in the presentation of the songs. It is inevitable that many will fall simultaneously into more than one ?

HE TASK of determining

all

category. In fact, this very complexity of subject matter and device adds much to the interest of Bulgarian folk music. The thousands of folk songs examined in this survey have been divided into the following main types: songs of the past, songs of

everyday experience, and songs relating to the supernatural.

SONGS OF THE PAST Although Bulgaria may not possess a detailed and accurate record of her past, she rich in colorful folklore which tells the story in song of brilliant victories, heroic struggles, and valiant deeds of her leaders. Despite some unavoidable fictionalization which results when information is passed on by word of mouth, from one generation to another, in a poetic form to aid memory, the picture of is

the past

is

essentially accurate.

Significantly, folk songs in this category do not, as a rule, date back earlier than the fourteenth century, which marks the beginning of the Turkish occupation. 1 Nationalism in Bulgarian folk music can thus be seen to have been expressed most

strongly in periods when national freedom no longer existed. The oppression which deprived the people of their leaders, their literary spokesmen, and the whole intellectual superstructure fostered a natural resurgence of chauvinistic feelings the peasant folk, in their desperate struggle for survival.

among

Songs of the past include historic songs, hero songs, heiduk songs.

HISTORIC SONGS

These move in the realm of reality and depict concrete events. They deal with actual names King Shishman, Botio Voivoda, Hadji Dimitur; locales and events from the history of the country "The Siege of Pleven/' "The Fall of Varna," "The Dream of Tsar Ivan Shishman," "The Battle between the Turks and the Moskovites," "The "War of 1885." 1

Pencho Siaveikov, "The Folk Song of the Bulgars," The Shade of the Balkans (London,

pp. 58-66.

1904),

Types

109

These songs are sung with pride by the Bulgarians because directly or indirectly they reveal what for them is the glorious past of a people who ruled the Balkans and showed courage and hope in the face of desperation at one time and doom at another. At the sedenka* at school and on patriotic holidays, the historic songs find their way into the hearts of the people, in much the same way that the music itself kept alive, through many centuries of enslavement, the memories of days of freedom.

Example 190. Obsddata na Pleven (The Siege of Pleven). Sung by Anto 3 Gorni-Lom, Belogradchik, November, 1926. Notated by P. E. Stefanov.

Po Bul-gar-sko

fariif

se

le-e,

po krai

Ple-ven

i

2. Beliasin, 55,

So

-

fi-a.

Po Bulgarsko kruf se lee,

In Bulgaria there

Pokrai Pie" ven i Sofia, A ot Pleven glas se chuva, Osman Pasha de tuguva,

Around Pleven and in Sofia. From Pleven comes the latest news,

Tu2i Osman,

Pa vuf ruka"

sulzi roni,

pe"ro vze*ma.

Ta sultdnu sitno "Slushai, tzariu,

pishe:

dumite mi,

Pokrdi Pleven rusi stoiit, Me'setzite za dni broiat. Po krai Pleven rusi mnogu

A ia, tzariu, ve'ch ne m6gu. "Prati p6mosht, hrabri tzirui,

Na Osmana, gospodariu, Ne*man hrand, ni dzepana, na rusi sMgam glava" ."

I

Abie" turtzi svi ahmdti, Ta zashto ste svi glupitzi.

is

of

bloodshed,

Osman Pasha is most unhappy, Osman worries and sheds tears, While he struggles with a message.

He is writing to the Sultan: "Listen to my words, O Sultan, Russians have surrounded Pleven Counting months as we count days. My troops can resist no longer And the Russians will seize Pleven.

"Send some help to me, brave Sultan, Send help to Osman, my lord. We've no food, no ammunition, And the Russians overwhelm us."

O you Turks, O foolish people, You will

all

pay for your

folly.

the attempted rhyming, an poetic text is unusual in two ways: because of and because of several excepfolk in occurrence rare song; Bulgarian extremely tional expressions and words. Osman Pasha, the Turkish defender of besieged Pleven against overwhelming odds, merely grieves (the verb used is tuguva); he is

The

"most unhappy/' an understatement made obviously for

artistic reasons.

A military

and himself might be expected to show more emotion than is conveyed in the word tuguva. This word was selected because it rhymes with chuva ("to be heard"), and still gives a picture of the sad,

leader

who

faces the destruction of his troops

depressed Pasha. So well are the Russians equipped that they can last as many months as their The idea is opponents can last days almost indefinitely, it seems to the Pasha. 2 8

Sedenka,

literally,

Vasil Stoin,

a "sitting"; in

villages,

a working bee.

Timok do Vita (Sofia, 1928), p. 777, No. 2916. Hereafter cited as a city in the Danube Valley of southern Bulgaria, was a strategically

Narodni pesni

ot

Ot Timok do Vita. Pleven, important stronghold during the Russo-Turkish War.

no

Types

expressed graphically "counting the touch to the Pasha's plea, the Turkish

months as days." To give a further realistic word for ammunition, dzepand, is used. The

word not only adds realism and color to the entreaty, since presumably the Pasha would have written his message in Turkish, but it seems to bring life to the

poem

as a

whole. Moreover, dzepand rhymes with the last word of the line which follows to form a couplet and at the same time it provides an internal rhyme within its

own

line:

Neman hrana, ni dzepand 1

What

establishes

na rusi slagam glavd*

beyond doubt that

that the singer from words in question

this device

is

not a coincidence

is

the fact

whom

the folk song was recorded had accented the three (italicized) as indicated. It would have been equally correct

in Bulgarian to have placed the accent

and equally fall

in the

on the first syllable in both hrana and glava, from a musical point of view, since both words easier, of the on the measure, part primary accent,

easy, if

first

not even

HERO SONGS The

songs which

of the favorite heroes of the people are a mixture of two elements: the historic, because they do frequently correspond to actual events, and the fictitious, because also recount the exploits of a person of rare, if not they abilities and achievements. Some of the stories give definite places supernatural, and names of the characters, whereas others mention neither. The subject matter tell

and communal welfare, the solutions resulting from uningenuity on the part of the hero, often through the use of The magic power. majority of these songs came into existence during Bulgaria's often deals with justice usual bravery and

5 struggle for national independence. Among the heroes of these songs, Krali

Marko is the chief protagonist. Claimed Serbians and he is by Bulgarians alike, part of the national folklore of both countries. It is probable that he was Serbian by birth and was a leader of Bulgarians. He is mentioned in history only in that he became a Turkish vassal of his free will. Tradition has it that as a Turkish vassal he was able to help and

own

protect the people under his rule. He is supposed to have been killed in the battle of Rovina, Rumania, on October 10, 1394, while fighting with the Rumanian leader Mircea.*

Because there were no leaders to help them in their dark hours, the Bulgarians distorted the actual facts about the heroes they did have, to glorify them as truly magnificent leaders. There is no doubt that with Krali Marko, as with other heroes, the songs originated immediately after some actual event, but as succeeding generations transmitted the poetic account, authentic facts were the

gradually altered, truth was transformed into legend, and, so that the heroes might capture the imagination of the simple folk, considerable embroidery was added to the original. Eventually, the name Krali Marko emerged as a symbol of Slavic courage, power, *

Glavd, "head/' The literal translation of this line is, "And to the Russians Mihail Arnaudov, "Folklor ot Elensko/' Sbornik za narodni umotvorenia Vol. XXVII (1913), pp. 106-109.

I

bow my

i

narodnopis

5

8

Slaveikov, op.

cit.,

pp. 57-58.

head."

Types and

7

what manner

glory. Just

of hero

1 1 1

Marko was may be seen from

the following

account:

Example

191. Krali

Marko. 8

Moderate

^ '

m

i*

Kra-li

Mar-ko, Mar-ko,

-

ia

desli,

pi

-

esh

puk

"Marko, Marko Krali Marko,

Mar-ko,

ne

zna

You

Puk

Little

iadesh, iadesh, piesh, ne znaesh, Krali Marko,

su zakolili,

ti

And

su r6b robili, Libe ti su v plen plenily." Che mi stana Krali Marko, ti

-

desh,

Mar-ko.

are loafing, eating, drinking, knowing, Krali Marko,

imprisoned your

own

sister,

captive."

To his feet sprang Krali Marko And he donned a long black cassock, Long black cassock such as monks wear. Marko mounted his swift horse, then, Girding on his sharpest saber,

Ch^rno raso kalugersko,

Ta vuzsedna burzo k6nche, Ta pripdsa ostra sabia

Fast he rode back to his village,

otide v tehno sdo,

Che

Kra-li

Your sweetheart they've made

Ta obleche ch^rno raso,

I

ia

That your village has been ravaged By three hundred Turks of Anadoli. They have slaughtered your old mother,

Sel6to su bastisali

Trista turtzi anadoltzi.

Maika

esh,

mi

"Marko, Marko, Krali Marko,

?

Ti mi

Sestra

-

ti

All three

izkoli trista turtzi.

hundred Turks beheaded.

it cycle is best known in southwestern Bulgaria, where is gradually disappearing in other regions, in Marko of legend originated. fact throughout the country. In many songs his chief virtues are those of cunning and trickery. The Bulgarian proverb, "Where heroes are scanty, there Marko is

The

Krali

Marko song

The

hero/' shows a tendency to regard his powers with some cynicism. The songs tell of wholesale burnings, torture, and pillage; in all clashes, Marko emerges victorious.

The hero song follows

the epic tradition, and as such is objective. It is the poetic folk tale, which also deals with adventures of

and musical counterpart of the heroes and heroines.

HEIDUK SONGS heiduk songs have historic implications. because the peasants witnessed the feats the to are closest however, people, They of the heiduk; suffered with his failures, rejoiced at his successes, mourned at his crossless grave. To them the heiduk was a hope for deliverance from slavery, a

Like the other songs in

this section, the

its appreciaprotector against the brutality of the heterodox. And the folk showed tion with the most precious creation of its soul with its song, which even today is heard throughout the land like an echo of a long-vanished epoch.

Who 7 8

9

is

this

heiduk?

The

dictionary describes

Arnaudov, "Folklor ot Elensko," p. 107. Ivan Kamburov, Bulgarski narodni pesni

Arnaudov, "Folklor ot Elensko,"

p. 252.

him

(Sofia, 1940), p. 96.

as "robber, brigand, thief,

1 1

2

Types 10

bandit, outlaw, revolutionary/' The meaning which occupies the least preferred position in the dictionary is, to the Bulgarian, the only correct one. When a Bulgar

could no longer endure conditions under the Turks, he took to the mountains, where he joined other citizens like himself, who, under the leadership of a voivoda, 11

many years presented the only organized resistance to the foreign lords. The heiduk was therefore a liberator; he helped his people wherever he could, seeking revenge when opportunity offered itself, and showing no mercy to the oppressor. Because of their powerful sentiment and sincerity, heiduk songs represent some of the most beautiful creations of Bulgaria's spirit, comparing favorably with the for

more

sophisticated art song. 12 chronicler Nikifor Gregoras, who traveled widely on the Balkan Peninsula, relates that in 1326, while traveling to Serbia across the Macedonian

The Byzantine

mountains, one evening he heard his guides singing songs which he described as sad and monotonous, dealing with names not known to him. Those were the songs

which told the

stories of

many

present time, six centuries later.

national heroes whose names have survived to the 13

192. Zaradi Indje voivoda (Weeping for Indje voivoda). Sung by Christo Niko1* Gurkovo, Vidin, December, 1926. Notated by K. Zagorov.

Example lov, 78, of

M.M.J

s

120

Za-pla-ka-la e

go-ra-ta

go-ra-tai

s

The The

Zaplakala e gorata, Gorata i planinata, Zaradi Indje voivoda: "De"ka e Indje da doide, Da doide da ni oslobodi."

forest has

forest

and

pla

-

ni-na-ta.

begun to weep, the mountain,

Weeping for Indje voivoda: "Where is Indje? He must come, Come and liberate us."

The close alliance between the mountains and the Bulgarian people has always been emphasized in the folk song. The forest, which has given refuge to the heiduk, here laments his sudden disappearance. A strong nature element is characteristic of the heiduk song; in many of the heiduk songs the suggestion of forest and mountain, of sky and earth, is so predominant that it amounts to a sort of pantheism.

There

is

some

justification,

however, for the misunderstanding of the term

heiduk, even

among Bulgarians. As the Ottoman Empire began to degenerate gradually, many of the pashas and bets severed their connections with the central government in Istanbul. With whatever army they could entice away, they struck out for themselves. There followed 10

11

many

years of violence, plunder,

and

Constantine Stephanove, Pulen Bulgaro-Angliski rechnik (Sofia, 1914), p. 830. Voivoda, a chieftain, a leader. There are instances of women who became voivodi;

virtual

many

folk

songs tell of their courage and valor. 12 Slaveikov gives the name as Gregor Nikeforos and places the incident in 1325. Both Slaveikov and Ivan Kamburov have taken the story from Konstantin Jierecek's authoritative book, Kniazestvo Bulgaria. ls

Singing in the mountains is a Bulgarian tradition. Throughout the year, and especially at mountains carry the echo of folk songs over ravines, summits, and forests.

night, the 31

Stoin,

Ot Timok do

Vita, p. 790,

No. 2963.

Types

113

anarchy, marked by skirmishes between the central Turkish forces and those of the independent feudal lords. All this made life so intolerable for the native

many of them took to the mountains and from there sought to avenge the sufferings and bloodshed of the defenseless. Among these mountain heiduks (or haramias) were some who could not resist the temptation of exercising their new-found liberty and in power unscrupulous ways, and thus became real bandits, adding to the terrors of the peasants. And, although there are many songs relating the misdeeds and cruelties of such criminals, the concept of the heiduk on the whole stands for something very like the French Resistance of the Second World War or the Balkan guerrillas who protected their fellow countrymen from population that

the oppressors

and more often than not gave

their lives in the cause.

SONGS OF EVERYDAY EXPERIENCE This classification includes love songs, songs of family life and national customs, Christmas carols, songs for time of drought, songs about nature, humorous songs,

work songs, and children's songs. Here we find the widest variety of subjects, moods, and emotions described: stories of love and work, of satire and nature; comments on the life and character of the people

the shepherd, the peasant, the housewife; themes dealing with hossongs which tell as accurately as possible of the man and his occupation, of his relations with his family, his kinsmen, his fellow men; songs of infidelity, seduction, marriage. Many of the songs tell of specific events which have broken the prosaic daily routine of the village. Such songs were popular locally as long as the event itself was of interest. A few generations later, as the vivid details grew pitality,

fell into disuse and were supplanted by others which told of contemporary incidents. Therefore it must be borne in mind that many of these songs are of more recent origin than those in the other two categories. Songs which have continued to hold the interest of the folk for many generations are obviously of broader scope and more universal appeal, or have come down to us because of the unusual beauty of the melody, the poetry, or both,

dim, those songs

fresh or

LOVE SONGS Like the love songs of other countries, those of Bulgaria are more numerous than 15 any other kind of folk song. They are "the most poetic for the intimacy of their 10 emotion, for the versatility of their expression, for their tender melancholy/' Conspicuous numbers of songs call attention to the more unusual manifestations of passion love. It

is

love acquired through bribery or kidnaping, suicide pacts, unrequited important, however, to note that the unorthodox aspects are treated with

extreme dignity and discretion. In singing of extramarital love,

as

he must

if

he

a true and impartial historian of his village life, the folk singer invariably presents his story in a manner that will not offend his audience. The realism with is

which the stories are related is, nevertheless, extraordinary. In the normal phases of love, the songs are saturated with idealism and passion. 13

Of the

5,500 folk songs which Christo Obreschkoff

examined for

his study,

about

1,800,

approximately 33 per cent, were love songs. Das bulgarische Volkslied (Leipzig, 4937), p. 3L 18

Slaveikov, op.

cit.f

p. 70.

or

ii4 One

Types does not have to look far for the reason, since most love songs are composed

and sung Example

by the younger men and women of the community. Sung by Ivanka BL Brusova, 32, of Butan, Orehovo, September,

chiefly 193.

1927."

M.M. J =$0

na

zve

zdi

Stoian sus svirka svireshe

na zvezdite dumashe: "Zvezdo le, vechernitze le, Kato si tolko visoko, I

VIdish

"Sedut

li

li

dole shiroko?

kak

Momite na I

si

tarn

li

Sedut

si

be*?"

dumashe: mlado ovcharche,

kak

si

Stoian played

on

ma

sede*a

she.

the shepherd's flute,

And thus to the stars he spoke: "O evening star, O evening star, While you're shining high above us, Can you see the world below you? they

still

meet

at sedenkas?

And my sweetheart

Zve*zda Stoiano

"Stoiane,

-

"Do

sedea

sede*nkite

moito libe

du

- te

With

is

she with them,

the

young girls as they gather?" The star replied to young Stoian: "Stoian, young shepherd, lone Stoian,

They still gather as

they used

to,

I tvoito libe tarn be"she,

And your sweetheart is among them,

Sresheno, neoblecheno, Za te"b Stoiane 2ale*e."

Deeply grieving for your absence, She is plain and unadorned."

This pure, unpretentious composition is one of many in which separation has emotions of nostalgia and longing. Although most of the love songs are composed from the feminine point of view, those which tell of the separation of two lovers are usually sung by the young men. This is partly because it is the men who are most frequently away from home, but also because the women by stirred tender

more reserved in their protestations of love. deal of the color in this melody is due to the interval of the augmented great second, around which the melody is woven. It gives a sentimental and haunting quality, a feeling of gentle melancholy, modified by anticipation and hope. subjective intensity runs through the Bulgarian love songs and, when heightened by a traditional reticence, differentiates these songs unmistakably from those of other eastern and middle European countries. The musical thought is concise; the tradition are

A

A

slightly

modified repetition further emphasizes

its

logic.

SONGS OF FAMILY LIFE AND NATIONAL CUSTOMS

*

SONGS FOR ENGAGEMENTS the day chosen to announce an engagement, often the Thursday Thursday before the wedding, since long engagements are not popular in Bulgaria. On that day the young couple go to the nearest town to shop for the bride's wedding a PP are * ve ** flowers, dress, shoes. The prospective groom pays for these articles and takes them home with him. That evening, relatives assemble at the groom's is

1T

Stoin,

Ot Timok do

Vita, p. 463,

No. 1822.

Types woman

115

Then they go to the home wedding costume with them. There they have dinner, during which there are ceremonies which vary with the locale. The to-be receives gifts, and there is much merrymaking, drinking, and singing of kisty village version of a bridal shower, for mixed company. home, each

bringing a loaf of bread.

all

bride-to-be, carrying her

Example

194. Gosti

go deznitzi (Engagement Guests).

of the a late bride-

a sort

18

Allegro

go-stl

go-dez

Gosti mi su doshli, Gosti godeinitzi, i t.n.

I

-

ui

tzi.

have guests

this

evening,

Guests for the engagement,

etc.

This is one of the older melodies connected with these festivities. In addition to obvious melodic and intervallic characteristics, it is worth calling attention to the unusual structural design: there are ten measures in the melody, divided into three groups of three measures each with an extra measure after the second group (measure seven), which has an exclamation that is not part of the text. Measure seven is an echo of the third measure. The half cadence (measure six) is identical with the final cadence, so that there are only five melodically different measures in a total of ten. WEDDING SONGS

The

songs sung during the preparation for the wedding and throughout the day of the ceremony are among the most colorful of all Bulgarian folk songs. They differ from region to region, since wedding customs follow local patterns. But the marriage celebrations always last for several days, in the course of which a whole group of traditional songs will be sung. Often there are as many as thirty to forty songs in such a cycle. Examples 195204 depict some of the highlights of the weeklfl

long 18 19

festivities.

20

Narodna pesnopoika (Sofia, 1930), p. 84. Most wedding ceremonies take place in winter, long Stoin,

after the

work

in the fields has been

com-

pleted. Ecclesiastical doctrine dictates the setting of the date according to the church calendar; hence the actual ceremony invariably falls on a Sunday. Usually a full week of complicated ritual

precedes the event. 20 The names in the songs are given as they have been recorded. bridal couple are of course inserted to fit the occasion.

The

appropriate names of the

n6

Types

Thursday: announcement of the engagement and preparation of food Example 21 house of the bride-to-be. Sung by Ivanitza Ivanova Doncheva, 19, of Mindia, Elena. 195.

at the

M.M. J >80

Vuf mo -ma

-

bul

ta

Vuf momata bulgur chistiat, Vuf ergenia haber niamat "Mari Tz^no, luda mlada,

Kogo pitash da se znish, Dal Borisa mlad gidia? Toi te luze, toi te mami, Kushtata mu na bairia, PleVnika mu, zad bairia." Istekla mi ii tunka elha, Vuf Tznino ravno dvore, Koi kak mine klonche chsne,

Mina

Boris, istrugna

Zanese

"Na

ti

ia

na mdika

mamo,

gur

chis

-

tiat,

At the girl's house they plan a wedding, But at the boy's nobody knows it. "Ah, thou Tzena, young and playful, Who do you think you will marry? Is it Boris, young and valiant,

Who deceives you with false pledges? His house is the wooded hill, His barn and silo behind the hill." There was a tender alder tree In Tzena's garden.

Whoever

passed by plucked off a branch. Boris passed, he uprooted the whole tree carried it to his mother:

When

ia,

And

si:

tuzi elha,

Presadi ia vuv gradinka

Pod iabulka moruianka, S ruino vino ia polivai, S ruino vino trigodishno." Prepadnala ii tiimna mugla, Vuf Tz^nino ravno dvore, Biala Tz^na po dvor h6di, Po dvor hodi Boga moli;

den godina, D<^n godina, nosh nedclia,

"Stori, B62e,

Da pohodia da pogledam ravno dvore, maichino kaldurumche."

Iz bashtino Jz

-

"Here, Mother, take this alder, Plant it in our garden Under our apple tree. Sprinkle it with red wine, With red wine three years old." Dark fog fell in Tzena's courtyard, Fell on Tzena's level court. Fair

Tzena paced the courtyard,

And whispered as she paced: "Let the day, God, last a year, The day a year, the night a week, So that I may freely enjoy So much longer my father's hearth And my mother's tender care."

Example 196. Friday morning, as trie unleavened bread is being baked. Sung by Rada Tzaneva, 38; Maria Miteva, 50; Dona Tanchova, 44; Ivanka Diurova, 45; Pena Iv. Kazakova, 22 SO; Tzveta Velichkova, 34; of Stanchov-IIan, Drenovo.

M.M.J

Na

=

270

er- ge-nia za-sia-va-me

Na erge*nia zasiavame, Na momdta zapidvame, i t.n. ^Stoin, Narodni pesni ot Sredna as Ot Sredna Severna Bulgaria.

na mo-ma-ta za-pia-va-me, ka-li-no

mo-ia.

For the young man we begin sowing, For the young maid we begin singing,

Sevema Bulgaria

(Sofia, 1951), p. 207,

etc.

No. 589. Hereafter cited

Types 197.

Example Svishtov.

Preparing the garland of flowers.

23

M. M. J

Vi

-

=

vi

-

lo

la

i che

of Vurzulitza,

_

180

se

la

117

Sung by Monio Marinov, 48,

-

za

-

vi

na,

P

sa

vi

iz

-

o

la

-

ko

lo

gra

-

da.

A vine winds, a grapevine Winds around 198.

Example

As the bridegroom

is

the whole town.

being shaved. Sung by

Donka Nikolova,

20;

and Petra

2* Petkova, 24; of Drenta, Elena.

hu

-

ba

-

mo- mi,

vi

"""-""^

ma-mo, po

liu-Mh.

At least, dear Mother,

To make love, Example

199. Saturday.

I was long enough a bachelor Mother, to many a pretty maiden.

Sung by Maria Tzurnova,

34, of Novo-Selo,

Troian. 25

M.M. J ?75

Gle

-

dai me, gle

sta-ra

ma-le,

-

dai,

na

-

sta-ra ma-le,

gle

23

/&;<*., p.

215,

Ibid., p. 217,

dai

mi

-

gle-dai

se.

Gledai me, gledai, Stara mile,

Look at me,

Nagl^dai mi

Gaze long upon me While still I am here.

se

Dn6ska sum tuka, t)tre mu n^ma. Che shte da doidat, Che shte da stana

>M

-

na

oh, look

My dearest Mother. Tomorrow I leave. For then they will come,

On Sunday early

Rano f nide*lia,

I shall

Shte se omia,

And braid my long hair.

No. 619. No. 627.

awaken

mi

se,

n8

Types And

Shte se upltu, Shte si obleku

Moiata premiana, Che shte da doidat Mladi iunatzi,

folks

me

All the young gallants, And the young maidens.

Off to the nexv church My friends will lead me,

There

N6vi pop6ve.

Example

my finest

shall

Will come to fetch

S mladi devoiki, Shte me zavedut F n6vata chrkova Shte me venchiat

By

200. Sunday: draping the bridal veil.

of Ruhovtzi, Elena.

in

adorn me, For all the young I

the

to

be wedded

new parsons.

Sung by lordana Stoianova Boikova,

30,

86

M.M. J=92

Pre-ve-di sa

Ma

mar

pre4do-ni sa,

-

rii-ke,

i che

i -

ti

de

Prevedi

Mar Che

Mar Che I ti

sa, prekloni Mariike,

O

O

Mariike, vodi godenika

201.

Mariika, Mariika,

And a

nosi b^lo bulo,

the bride-to-be

pretty bridal veil.

She will drape your slender

ti

When

-ke.

Bringing your betrothed with her,

buli tunka snaga, Tunka snaga, bialo litz^.

Example

rii

Your godmother cometh now,

ti

Shte

Ma

Come, thou maiden, bow your head,

sa,

ide krusnichkata,

ti

nar

krus-nich-ka-ta,

figure,

Slender figure, lovely face. is

ready.

27 Sung by maidens of Sheitan-Mahala, Elena.

M.M. J: 120

SUt

n

-

Izgrel mi, idsno slunchitze, Sutrina rano f nid^lia,

Da vidish, idsno slunchitze, Kak dlut r62ba ot rnaika, Ot mili bratia i s^stri. Nahodi li se, Mario, Po bashtini si dvorove, Nagl^da

li se,

Na bashtini si 28 27

sarii,

No. 637. 222, No. 648.

Ibid., p. 219, Ibid., p.

Mario,

-

na

no Shine forth

up

f ni

-

de

-

lia.

in the sky, Bright Sun,

Early on this Sunday morning, So that you may see how, Bright Sun, A daughter's torn from her mother,

From dear sisters and Did you

live

brothers.

enough, Maria, Safe within your father's courtyard? Did you gaze enough, Maria, Walking in your father's garden?

Types Naduma li se, Mario, Na tvoita maika bashta, Na tvoite sstri bratia?

Did you talk enough, Maria, With your mother and your father, With your sisters and your brothers? For you go to a new mother, Another mother and father. You will talk with a new mother, With a new mother and father, With other sisters and brothers.

i

i

maika shte idesh, maika i bashtd, Na druga maika shte dumash, Na druga maika i bashta,

Pri druga Pri druga

Na

drugi

sestri

i

bratia.

Example 202. The bride leaves her home. Sung by Velika Petrova and Maria Nedelcheva, of Gradishte, Sevlievo. 28

Ne

Ne

te

te

milo, Mario, bashtino dori,

li

no do

ba-shti

mi-lo, Ma-ri-o,

li

-

rL

Will you not mourn, Maria, for your father's courtyard,

Bashtino dori, det go mite'shi, Bet go mitshi sus klon bosiliak, Sus klon bosiliak, sus klon liuliak?

Your father's courtyard that you always swept, That you always swept with boughs of basil, With boughs of basil, with boughs of lilac?

Example 203. The procession arrives in front of the groom's house. Sung by Rada Drumeva, 70; and Minka Marino va, 45; of Balvan-Mahala, Veliko-Turnovo. 29

M.M.

=

60

3

P Ot

va-

-

rai

mom - ko

por-ti,

-

va

i ma

mo,

po

-

mosht

Otvarai porti, Momkova niamo,

Open wide

Pomosht ti vodim, P6mosht ti vodim, Pomosht otmiana,

We bring a helper, We bring a helper,

Da te otmeni

She will relieve you, Carry the water, Carry the water, And do the wash.

Ot

kobiltzata,

M.M. J

Wedding =

ICO

le,

tiim-na

mug-la,

u H-be

iia

le,

li-be

1

1

le.

No. 671.

^rtn^p^S^No. 30

^

te

Za-da-de sa,Stu-ie-ne Ibid., p. 228,

the gates,

dance. Sung by Ivanka Pop. Petrova, 58, of Radiuvene, Lovech.

P 28

dim.

A help and relief.

Ot buhalkata. 204.

-

Mother of the groom,

tit kobiltzata,

Example

vo

ti

690.

Ibid., p. 236, No. 702. selves as they dance.

This

is

one of many wedding songs which are sung by the dancers them-

1

20

Types Zadade

sa, Stuie~ne le,

81

31

see dark fog, Stuiene-le, Very dark fog, sweetheart-le. I

Tumna mugla, libe le. To ne bilo, Stuiene le, Tumna mugla, libe le, Mi

ie"

bilo,

Stuiene

It is

no

fog, Stuiene-le,

No dark fog, sweetheart-le, But

le,

is

instead, Stuiene-le,

A brilliant village wedding.

Silna svadba bulgarska.

For each step In the preparation of the wedding and for every day during the week which precedes the ceremony there are special songs. They are addressed to, or designed to be sung by, the prospective bride and groom, their parents and various relatives, the best man, and so on. They are sung as the wedding cake is table and at almost being baked, as wine is poured; they are sung at the wedding the when in the elaborate wedding party, well-wishers, and any point procedure with good wishes for the guests gather together. The lyrics are concerned chiefly bride. to the farewells with future, Many of these songs touching young couple's reveal a strong sentiment that for the two newly married young people the carefree days are over, that the different.

new

life

may prove

to

be as

difficult as it will

be

Many songs speak of the dark clouds which descend over the bride's house and the sunshine in the house of the groom. This symbolism is highly indicative, for while the bride's family mourns the loss of an able worker, the groom's family will take over the sole responsirejoices in the addition of a young woman who as she continues by tradition to be bility for the household duties. The "bride,"

called in her

new home,

Since the folk

replaces her husband's mother at home and in the fields. is primarily a realist, he objectively portrays the

singer and poet

unpleasant as well as the pleasant aspects of marriage. A large number of songs tell of the impossible situation in which the bride may find herself when there is a clash of personalities with the husband's mother. Life is indeed unbearable for the bride, the mother-in-law reporting to her son that his wife is Lazy at home and La2y in the fields. She visits with friends And visits with her family,

And while you are away, She visits. She

visits

and drinks.

According to the national folklore, such accusations, however unfounded, may enrage the husband to the point of murdering his wife. In several songs, the corpse speaks, convincing the husband of the jealousy of his mother and the injustice he

is

82

repentant husband then takes his own life as well. the The construction of wedding songs is usually simple. The scalewise melody and the fourths and fifths appear frequently. The plaintive melodic predominant,

has done to his wife.

The

quality of the melodies and the freedom with which they are built make them sound rather improvisatory in character, rich in sentiment, intimacy, and warmth. In the wedding songs, as in Bulgarian folk song in general, the use of the anaphora is conspicuous. This serves two purposes: to help in the setting of the text and to add emphasis. 81

88

The le is not part of the text; it has been inserted for metric reasons only. Arnaudov, "Folklor ot Elensko/* p. 247.

121

Types CHRISTMAS CAROLS Christmas in Bulgaria

falls

on January

7

and the holiday celebrations continue

for several days. Many weeks before the holidays, the young people gather in someone's house or in the school building, where an elderly person rehearses them in the singing of traditional Christmas carols. After the midnight church service, the

youngsters, divided into groups, begin caroling on Christmas morning. Dressed in their holiday best, with dogwood branches in hand, they go from house to house

and

walnuts, holiday cookies, homeand sometimes money. The leader of the group wishes of the young people to the host, his home, family, and

to sing their songs

made

sausages and

then

offers the best

fields,

receive gifts in return

candies, fruit,

and the

The

carolers depart singing. Christmas carol is among the most vivid of

all Bulgarian folk songs. carols are of and dance the Ordinarily tempo giusto types. The more interesting melodies make use of asymmetric meters and are confined within a narrow

ambitus. Carols belong to the rare groups of folk songs which are happy in charboth melodically and poetically. The numerous song cycles include songs dealing with specific occasions or situations usual in the holiday period to be

acter,

sung for the

and

hostess, a

young

girl,

a bachelor, farmers, shepherds, artisans, hunters,

so on.

Example

205. Kolezddntzi, pesnopoitzi (Carolers, Songsters).

33

Moderate

Dai-ne

Dai -no

ia

le,

che

le,

sta

-

vi

ne-te,

- dat,

Daine

Daine le, ia stane'te, Braino le, otvore* te, Daine le, che vi idat, Braino le, kolefddntzi. Daine le, che vi idat, Braino

le,

Daine

melody

is is

-

le,

ko-lez

-

Daine

le,

-

te,

dan-tzi.

get up,

open the gates,

to

le,

le,

Braino

wake up,

re

your home come,

young carolers,

to

your home come,

le, all

are praying,

Daine le, all are praying, Braino le, all are singing.

a remarkably lively song. Even at the moderate tempo indicated, the it 'reflects the spirited, full of exuberance and happiness. Musically,

simple but meaningful words, "Here

who have

vo

le,

Braino

bogomoltzi,

ot

le,

Braino

Daine le, bogomoltzi, Braino le, pesnopoitzi.

This

Brai-no

-

le,

Brai-no

gotten

up

is

a group of your neighbors and friends you luck, to serenade you,

in the middle of the night to wish

The melody has an upward trend, descends for contrast, only to a with rise again striking perfect fifth, the first leap before the third measure. The initial two measures are repeated; the climbing interval is now a perfect fourth, the second melodic leap in seven measures. Measures eight, nine, and ten employ to pray for you."

83

Kamburov,

op.

cit.,

p. 11.

122

Types

the perfect fourth again. The last two measures form a strong cadence. The melody consists of two groups of six measures each, with a semicadence on the tonic. Each group readily divides itself still further into two phrases of three measures each. Of all the progressions, twelve are repetitions, seventeen are seconds (fifteen major and two minor), and four are perfect fourths; only one is a perfect fifth. The interval of the major sixth within which the melody moves helps to give it an optimistic air; because of the absence of thirds and the predominance of major seconds and perfect fourths, it has an almost contemporary sound. The craftsmanship and taste displayed in this song remind one of the quaint and elaborate over-all effect of peasant needlework, of fourteenth century woodcarving, or of the powerful brushwork in native ikon paintings.

SONGS FOR

TIME OF DROUGHT

a national ritual, practiced during May and June, usually in times Peperudd* of drought. young girl about ten or twelve years old is decorated with greenery. Accompanied by a group of girls of the same age, the "butterfly" goes from one house to another dancing, while the rest of the ensemble sings. member of the household then comes out and pours water over the "butterfly" while the hostess throws flour over her head. goodly share of flour, as well as butter and cheese, is given to the girls as gifts. In the bigger cities, gypsies do the dancing. 33 The water is of course symbolic of rain, and the foliage on the "butterfly" signifies the crops which need the rain in order to grow.36 is

A

A

A

Example

206. Ddi, Boze,

duzd (God, Give Rain). 87

Ruc&nenitza tempo, not fast

m

da

le

Pe

-

pe

-

ru

-

m -

-

te

la,

le

la,

mo

te

-

-

la,

m Bo

i

Peperuda

letela

I se

molila:

Bogu

"la dai, B62e, dreben Da napoi zemiata, Da porast^ trevata, Da si pas^ pauna, Da si hvurli perata,

Da gi Da gi

**

33

-

duM,

sbirat momite, ze"mat raomtzirne."

-

11

As the

38

Arnaudov, Ocherki po bulgarskia folklor

Kamburov, op.

cit.,

p. 71.

li

-

butterfly fluttered

She sent her prayers to God: "Send, O God, the gentle rain,

Rain

to

quench the

thirsty soil,

To make the grass grow greener,

For when peacocks eat green grass, Brighter plumage they will shed, For the maids to gather up, For the lads to steal away."

Peperuda,, literally, "butterfly." Kamburov, op. cit., p. 69.

87

-

(Sofia, 1934), p. 547.

la.

123

Types SONGS ABOUT NATURE

The

people of Bulgaria feel very close to nature In general and to the Balkan chain of mountains in particular. Although the name "Balkan" on the map appears over the mountains which spread from Yugoslavia to the Black Sea, the

name

is

applied in Bulgaria to any other mountain as well, and has, in

come synonymous with the words mountains gave refuge

for "forest"

fact, be-

and "mountain." Because the

to the heiduks, to the present

day the Bulgar has a

soft spot

in his heart for the highlands. "Balkan" has become a symbol of power, protection, and hope. In his songs, therefore, the folk singer has personified the spirit of his

beloved mountains in the form of the mystic, superhuman "Father Balkan." Many songs have as their subjects the national flowers basil, geranium, and carnation; others praise the favorite birds the nightingale, the eagle, and the dove. Folk songs deal with the elements and natural phenomena flood, thunder, rain,

whirlwind.

Songs devoted solely to nature are comparatively few in number, although various aspects of nature appear in every category of Bulgarian folk song. The love motif is often interwoven with nature subjects, and these songs are delicate, carefree, and sentimental. In others, mountains, rivers, the moon, and animals talk

and even

foretell the future.

In some songs, inanimate objects are taken into the

human

beings and treated as their equals. Nature to the Bulgarian peasant is always extremely personal; he ascribes human qualities to all aspects and phases of nature and these lend a quaint and intimate quality to all his folk

confidence of

songs dealing with nature.

Example

207.

Bulka

i

gord (The

M.M.P=400

Young Bride and

M

HP

@_T Bul-ka vur-vi)

the Forest). 88 /-v

-pB_4k

yy

f

bul-ka vur-vi

ze

prezgo-ra

-

IT IP Ka-to vur-vi,

ka- to vur-vi

Bulka vurvi, bulka vurvi Prez gora zelena. Kato vurvi, kato vurvi 2alno, milno plache: "Plachi goro, plachi sestro,

Dvima da placheme, Ti za tvoite liste, goro, Az za moita mladost. Tvoite

liste,

goro, sestro,

Slana oslanilo,

Moito

libe,

g6ro

sestro,

DaMch zabegnilo, Dale"ch zabegndlo .

159.

f f

r'r

zal-no mil-no

na.

le 112

r

pla-che,

w^ pla-che.

Young bride wanders, young bride wanders Through the fresh green forest.

And as she walks, and as she walks, She

is

softly sighing:

O forest, weep, my sister, Let us weep together, You for your leaves, my dear forest,

"Weep,

I for my lost girlhood. Frost has bitten, forest sister, Your leaves green and tender,

While

my lover,

dearest sister,

Far away has ridden, Far away has ridden

1

Types

24

Over nine big forests, Over nine big forests, mother, Over nine big mountains. As for your leaves, dearest forest,

Prez dvet planini, Prez devet planini, maiko, Prez devet balkana.

Tvoite

liste,

goro

sestro,

Pak

shall return again,

shte da se vurne, Prolet shte da doide, goro,

They They

Pak shte da pokara; Moita mladost, goro Nema da se vurne."

Fresh and green the next spring; But my lost youth, forest, sister, It shall never come back."

sestro,

shall return again, forest,

The melody, originally built within an eight-measure frame, becomes less regular with the repeat in the second half. Each of these halves consists of four measures: the first two measures in each accommodate an eight-syllable line; the second two measures have a total of only six syllables each: (4 + 4) + 6 + (4 + 4) + 6. In both bride wanders" (2), "As she phrases of the period words are repeated: "Young walks" (2), and so on, apparently for rhythmic reasons. The range of the melody is not much greater than that of the average folk song: major sixth. With three exceptions, when the melody the entire melody follows a scalewise pattern. Like of a interval the third, skips strucfolk other songs, this one has the fourth as its important Bulgarian many tural interval. The repetition of various scale degrees is also noticeable, especially in the descending passages. The melody carefully avoids the second degree of the it

covers the interval of a

has a fresh sound

scale; as a result, it

degree in a very effective manner. It

is

when the final cadence makes use of then repeated rhetorically three times.

this

HUMOROUS SONGS ordinarily found in songs which accompany and reputedly lighten peasant labor, and in those which are sung for dancing,, to make a gay occasion still gayer. The simplicity of the humor is such that a sophisticated

The humorous element

listener

is

may only conclude

social conversation

which

that the it

work which

supplements

serves to lighten or the ordinary must, by contrast, be excessively dull. it

A

A

large number of the humorous songs are in the typical Bulgarian meters. mixture of asymmetric meters is not infrequent. Many of these humorous songs, especially those designed for the H6r6 3 are in 2/4; others

make use

of 2/4

and 3/4

alternately.

Many of the melodies are built on pentatonic scales with an augmented second. The humor is usually naive and even crude; much of the poetry is unimaginative, slanted, it would seem, for purely local audiences. The subjects, although not numerous, are nevertheless varied. They are chosen chiefly from the limited contacts

which the peasant has with his fellow men. Since most Bulgarian village folk many miles from home, the stock situations of their folk song and folk

never travel

story are predictably confined.

Love, of course, is a common and important factor in peasant life and has its humorous aspects. A song tells of two brothers in love with the same girl. Everything went well until both brothers called on the young lady on the same evening.

Many of these songs Drastic remedies are reports that "it

is

deal with lazy wives who invent illness in order to avoid work. recommended to the husbands so afflicted. One popular song

easier to love than to weave/'

Types The and

holy

men

ridicule in folk

Priests

125

Orthodox Church, who are targets for merciless sarcasm tales, have by no means escaped the attention of the folk singer.

of the

and monks

The mating

of

alike receive scant courtesy in the Bulgarian folk-song literature. with December is another favorite June subject; such songs lean

heavily for their humor on a surprise ending. A young lady who objects to marrying an old man sends him into the forest to fell trees and hunt bears, hoping that

such strenuous labors will dispose of her elderly suitor. Alas: Here he comes, Mother dear, Carrying the whole tree on his shoulder, Bears timidly following after. In desperation she sends him to fish in the Danube, praying that he will fall in and drown or be devoured by some species of man-eating fish reputed to inhabit the waters. Instead:

Here he comes, Mother dear, Thousands of fish before him,

The

river

Danube following after.

In subject matter, example 208 is typical of many songs which are sung at the sedenka, in the fields and at weddings.

Example

208.

Sung by Stoiana Koseva,

45;

and Ivanka Docheva,

27; of Duskot, Veliko-

Turnovo. 38

da-li

Gen-cha,

Chris-ti -no,

111 -

zov

-

ni

ka.

Neseche"na, nevleche"ria.

Think again, Christina, before You marry Gencho, that great fibber. He lied about his fine new house. His new house is in the forest, Not yet cut, nor yet collected.

Toi sha se"ehe,

He will cut trees, you will drag them.

Da

Only then

Kogo pitash, Christino, die sa 2nish Dali G^richa, Christino, Iu26vnika. Toi

ta luie

Kushtata

si

s

n6va kushta.

mu ii u gurata,

ti sha vleche"sh, kushta naprdvite.

will

you have shelter.

The sense of humor which the Bulgarian peasant displays in his lighter songs he also applies to the adversities and hardships which are the peasant's lot. Critics of the humorous songs in Bulgarian folklore find them crude, too primitive, or simply bad, but It must be remembered that a people exposed to suffering for centuries must be allowed at least a few generations in which to learn to relax and laugh. If humor is typical of high intelligence, then the examples given here may indeed fall short of such a measurement. The humorous songs are unpretentious and can claim neither high wit nor great inventiveness. They depict action and 88

Stoin,

Ot Sredna Severna Bulgaria, p.

795,

No. 2417.

126

Types

humor. Xhey always evoke a fresh smile or mild laughter from both singers and audience, and in the prosaic, uneventful life of a

situation rather than abstract

secluded village that

is

sufficient justification for their

folk-song literature.

Work

continued existence in the

WORK SONGS

songs conveniently into two main categories: those indoor activities and those which are sung in the fields. fall

which accompany

SONGS SUNG AT WORKING BEES AND SPINNING PARTIES

In the late fall and throughout the winter, the sedenka is the main social function in the village. It gives the women an opportunity to take turns doing collectively in one evening what one person would not be able to do in a month. The sedenka thus turns into an evening of informal entertainment, storytelling, and gossiping. At these gatherings, singing is one of the favorite pastimes. The songs which are sung during the evening and late into the night cover virtually all categories. SONGS SUNG OUTDOORS have for generations been the concert halls of the Bulgarian. While the work indoors is done exclusively by the womenfolk, the burden of work in the fields falls on the shoulders of men and women alike. There are special songs for harvesting, for hoeing and cutting various grains and maize, for haytime and berrypicking,

The

fields

for the melon season, and so on. By far the most numerous, attractive,

and varied in subject matter of all work songs are those for harvest time. These are among the oldest Bulgarian folk songs. The melodies of harvest songs are usually short, with a rather limited range. Most of them are freely decorated. They are very loosely constructed. Many are unmeasured. Anaphora

is

used abundantly. appears in at least nine-tenths of the songs in this

One mannerism which

classifi-

cation has been widely satirized as characteristic of all Slavic folk songs, especially those which accompany the typical Slavic folk dances. This consists of the insertion into a strophe of an unrelated, meaningless vowel, which appears either at the beginning or end of a line and is accented and elongated to the taste and lung power of the individual singer or chorus. The resultant sound is unmistakably exuberant and so reminiscent of the vocal play of small children as to supply interesting material for anthropological speculation on the parallel growth of the culture and the human being. Like other work songs, those sung at harvest time form song cycles bound together by similarity of subject matter. The harvest songs may be subdivided into four groups: those sung in the morning, at midday, in the evening, and for various times of day.

Morning songs. Here we find greetings to the rising sun, to the dew on the grass and the flowers; a song doubting the motives of the maiden who happened to be absent from the group on a particular day; and so on.

Types 209.

Example

127

by Josif V. Lozanov, 58, of Vulchedrum, Lorn, December, 1926.

Sung

No-

tated by Christo Iliev/ A

_-

M.M. J=60/^

"

-TP Sliin -

tze-to

gu

tre

-

sta

pti,

iz

- ti

-

cha

-

go

The sun glitters

Sluntzeto trepti, izticha Iz gusta gora zelena, i t.n.

as it rises

Above the green

forest foliage, etc.

Midday songs. It is the custom for workers to rest during the hottest time of day, between noon and two o'clock. It is then that the young men and women gather in the shade to have their lunch, to rest and sing. The titles of many of the songs are self-explanatory and highly indicative: "Here it's noon and lunch has not yet arrived'*; "We struck a mean boss to work for." During the lull of the

summer

heat the lonely shepherd's flute is often heard in the distance; so the shepherd appears as hero in a number of songs which relate his amorous adventures. There are also songs with subject matter which is not connected in any way

with harvesting.

Example

210.

Sung by Sava Lalova,

38;

Mita Ch. Nichova, 38; and Vlaika Marinova, 34;

of Kameno-Pole, Bela-Slatina, December, 1927/

H

I?

Brai

-

no

lo

gle

Example 210

-

1

(Hp -

va-

dai

ne,

lo

-

mo-ma-ta

va

-

ne, ne

praz

gle

-

nik

-

dai

mo-ma-ta,

na ho -ro

- to.

suggests various criteria to be used in selecting a suitable bride.

A

advised not to be misled by a girl's appearance at the dance or at a as her neatness may very well be the product of her mother's hard work. He party, should observe her, instead, as she works in the fields.

bachelor

is

All the country roads leading to the village are filled with groups of returning harvesters. In the twilight and on into the darkness the echoes of their singing resound. The songs are designed to be sung at sunset, on the way

Evening songs.

to the village/ at the house of the landowner, and so on, following the homeward progress of the workers. As might be expected, the songs sung in the evening are subdued, personal, and sentimental. Examples 211 and 212 are typical. 40 41

Stoin,

Ot Timok do Vita, No. 965.

Ibid., p. 225,

p. 204,

No. 880.

ia8

Types

Example

211.

Bogova zuezdd (Divine

Star).

A harvest song to

be sung at twilight. 4

Moderately slow

Example

212.

-'

r

.

Molt se, libe, na Boga (Pray, Sweetheart, to the Almighty). From songs of on the road to the village in the evening.43

harvest to be sung

slow

Mo -

li

li

se,

-

be

le

& mo

-

li

.

u>

J.

na

se,

Moli se, libe le, Moli se, libe, na Boga, Gole"moto l^to le, Gol^moto l^to da mine, Ta cherna ^sen le, Ta chdrna esen da doide

Dano se libe le, Dan6 se, libe, sber6me.

j.

Bo

j. ga.

Send your prayers, sweetheart, Your prayers to the Almighty,

To make

this long summer, This long summer come to an end, So fall will come quickly, So fall will come quickly, sweetheart, So that you and I may Then forever be united.

Songs for various times of day. These songs follow no specific pattern and may deal with almost any subject They are, in fact, so varied in form and content that they have often been placed by collectors in one of the other classifications listed.

There

is certainly some justification for such a procedure. The classification has been retained here merely to indicate that many folk songs actually sung during harvesting evade accurate classification.

CHILDREN'S SONGS Songs dealing with children or sung by them while at play are not numerous, nor

do they

differ in character

dren, the lullaby

is

from those already described. Of

all

perhaps the most distinctive and poetic

the songs for chilsimple in text

It is

42

Kamburov, op. tit., p. 80. This beautiful song cycle recorded in the same collection (pp. 72-84), was taken down by the author in the vicinity of Vratza, near Sofia. At the beginning of the nineteenth century, during the internal disturbances in the Ottoman Empire, Bishop Sofroni, one of the chief figures of the Bulgarian revival, made Vratza famous with his powerful writing. On one of the squares of Vratza stands a monument to the poet-revolutionist Christo Botev, who fell at the head of his troops in 1876 on the Volat summit in the mountains just above the town. To date, the poetry of Botev remains literature among the finest in

Bulgarian

129

Types and musical Nani

From among the handful of lullabies collected, the following The melody has already been given in example 9 (p. 19).

setting.

has a typical text. mi, nani,

mamino

dete",

Ela siinio ot goritza, Fani Tz6chka za ruchitza.

Lead him with you to the forest, Cradle him in forest grasses, Cradle him in forest grasses,

Zavedi go vav goritza,

mu trevitza, Posteli mu trevitza.

Posteli

Zavii go sas papritza

Kato go

Nani

liule'ia

mi, nani,

i

Nani, nani, Mother's little baby, Slumber, come from deepest forest, Take my Tzochko by his small hand,

mu slatko pela:

mamino

dete*ntze.

Cover him with warmest fern leaves, While I rock him, gently singing, swinging, Nani, nani, Mother's

little

singing,

baby.

The

distribution of the poetic feet in the original forms unusual patterns, altoin each stanza. different gether I.

10 syllables, divided into 5 + 5 8 syllables, divided into 4 + 4 8 syllables, divided into 4

II.

8 syllables,

7 syllables, 7 syllables,

+4

III.

7 syllables, divided into 4

4-

3

12 syllables, divided into 6 + 6 11 syllables, divided into 5 + 6

divided into 4 + 4 divided into 4 + 3 divided into 4 + 3

The desire to obtain aesthetic unity within the verse accounts for the uniform use of the diminutive forms of forest, hand, grass, and fern. In their usual forms they are not very similar in sound: gord, ruka, trevd, pdprat* However, by using the diminutive, a rhyming effect is achieved: goritza, ruchitza, trevitza, papritza. Through the exact repetition of trevitza at the end of strophes 11 and in in the second triplet the deliberate monotony is intensified and the lulling effect of both

words and music further increased. The folk poet-singer, aiming at hypnotic, sleepproducing verse, has obviously been influenced himself by the constant recurrence of the tza sound, since, in the final strophe, he substitutes detentze for dete. This is done even at the expense of the poetic form, as the alteration adds one syllable to the original line. The use of the diminutive form to obtain a

rhyme scheme with words otherwise

dissimilar in sound, rather than a more careful selection of vocabulary which might obscure the simple meaning, is a characteristic folk device. So also is the addition

of unnecessary syllables which seem to result from sheer inertia, but which add tremendously to the ingenuous spontaneity of the folk song. It is by no means possible to quote what might be considered even a fair sam-

under the general heading of songs of everyday experihave been selected on the basis of their adherence here given to the specific type under discussion, because of their general appeal either poetthan other songs which ically or musically, and because they are more numerous pling of the songs which ence.

fall

The examples

from the experiences of everyday living in a peasant village. There are many songs which deal with family relationships, with birth and the ceremonies of christening, with death and infidelity; songs sung when gifts are received or given; singing games; and innumerable others which have been born of the emotional, the Bulgarian peasant folk. physical, and religious life of arise

13

Types SONGS OF THE SUPERNATURAL

Like other primitive peoples, the early Bulgarians postulated the existence of powers superior to man which directed the universe and shaped man's destiny. Such ideas are not incomprehensible to primitive thought and were in all probability responsible for the various heterogeneous forms of worship which are integral to group or national religious attitudes. These simple manifestations of man's

reaction to the supernatural have found expression in language the combination thereof which is song.

A

and sound and

wealth of Bulgarian folk songs in this category has been handed down from earlier times; the subject matter ranges from deification of Mother Earth,

much

fire, mountains, and rivers to birds of ill omen and belief in therianthropic polytheism and magic. From the tremendous world of unreality revealed in these

one would gain the impression that Bulgaria in past centuries was chiefly peopled by such creatures of fantasy as lamias, winged serpents, water nymphs, furies, elves, fairies, sprites, witches, oracles, and talking adders.

songs,

Nymphs

in Bulgarian folklore are often creatures of evil intentions and with human beings. When three nymphs happen upon

interests inimical to those of

a young

girl asleep in

the forest, this

song: First

The

nymph:

is

the conversation reported in a familiar folk

Let us take Draganka.

Second nymph:

Let us leave Draganka, For she's the only child Of her mother And of her father.

Third nymph:

Let us not take Draganka Till she is herself a mother, So that when we take her, Two mothers will be grieving.

melodies which accompany these songs are short and unmeasured, and limited compass. As in work songs, the augmented second is present,

move within a

and, similarly, the melody is opulently decorated. The difference between the two that the decorations in the mythological and religious songs are part of the mel-

is

ody. Since the construction is strophic, it is difficult to state whether or not there is effort made at word painting; the examples that do exist cannot be considered in any other light than that of coincidence. The greater part of the songs in this group consist of eight syllables to a verse; the poems are from two to verses each. ninety verses in length, averaging between twelve and

any conscious

twenty

There

no effort at rhyming within the couplet or the stanza, although the use of reiteration and anaphora often gives that effect. Any conscious effort at rhyming in more recent times only serves to prove that the folk verse is ungraceful in the hands of rhymsters, however well-meaning. Of the tunes which are written in tempo giusto, the asymmetric construction is most frequent. The eight-measure is

phrase occurs most often. In addition to the Oriental scales implied above, the pentatonic scale and the ecclesiastical modes are used again and again. Those of the songs which are written in rubato make constant use of the fermata.

tempo

Types Example 213

characteristic of

is

131 which deal with the per-

similar songs

many

sonification of nature.

Example 213. Sluntzeto ne moze na nadgree Dobrinka (The Sun Cannot Outshine Dobrinka). Sung by Tzana Radeva, 50, of Tzerova-Koria, Veliko-Turnovo.'*

If.M.X

Ma - ma

slun

-

slun-ch!

-

chi

-

dii *

tzi

mi

tzi

-

Mama sliinchitzi dumashi: "Sliinchitzi,

The

mama ucheshi Du idish gre'ik du greish, Du pladne greik du greish, ti

pladne

Puk

mi

ti

du si

sino,

Tri dni, mi

-

kak stana, kak gre"ish,

mi

Sun's mother spoke to him:

Tillers are fainting in the fields, Children are burning in the hay,

Stadu pu pul izgore."

Herds are dying

mamo,

off

on the

plains."

The Sun replied

to his mother: have been standing still, Mother, Standing still and have been watching The lovely maiden Dobrinka. She is sitting in her garden, Picking the most gorgeous flowers, More radiant, Mother, than the sun. She shines, Mother, and I shine, And I cannot Dobrinka outshine.

si:

gledul

no.

Three very long days and three nights, Three days and nights without setting. As long as you're up, no one stops, No one stops on fields and meadows.

sino,

duma mami

:

then to recline and come home? Instead you have been shining now

Kuk greish ni si duaidush.

Sliinchitzi

shi

And

dodish.

6ra po kiira izgoriaa, Dicha put snopia izmriaa.

"Sidial sum,

-

"Listen to me, O dearest son, Didn't I, your mother, teach you To shine and gleam till noon only,

milo mamino,

Nuli tu

tft

ma

lo

ma

sum

"I

Dubrink dubro mumichi.

V mala grudink side"shi, Siakukvu tzve"ti bireshi, Tii gr^e, mimo, az gr^ia,

Ni mu^ah, dii i nudgrei. Chiud su, mamo, mai su, Kak du Dubrinku izluzl."

It's

up

to

you now

to think of

A sure way for me to win her/' Mama slunchitzi dumashi:

Then the Sun's mother spoke again: "Listen to me, dearest son.

O

milo mamino, du tu nuuchu,

"Sliinchitzi,

Shu dodi

There is nothing easier than that. There is nothing that is easier. Soon the saints' days will be coming, And among them that of St. Georgi.

Zu zdrave du su liul&ut,

You should lower then your hammock From the sky down to the village, And when all the girls come to swing,

I tui

li

Tiizi mi, sinko, niiuku, Svetite dine shu ddidut. sv^ti d6n gergiovden Chi spusni liiilki ut nibe", Na lichin d^n na gergiovden

Sichkiti

mumi shu doidut,

Maiden Dobrinka

Dubrinku muma shu d6di. Tugas si liulka pudigni, Chi Stoin,

iiu f nibesa izdigni/'

Ot Sredna Severna Bulgaria, p.

will also

come.

Raise your hammock to the sky then, Raise the hammock and the maiden."

I

20,

No.

52.

132 The

Types

Young men and women in St. on branches on tree George's Day and swing, as tradition Bulgaria make swings luck. for health and advises, good One of the most widely known folk songs in Bulgaria is the ballad of Manoil, the master builder, whose unfortunate bride was cemented into the foundation of a river bridge or the cornerstone of some other edifice. There are many variants stanza refers to a popular peasant custom.

last

of this tragic story, but all have preserved the fundamental conception that it was necessary to make a human sacrifice in order that an architectural structure might be saved from repeated destruction.

the two musical versions of this famous folk song which are given here, example 214 is from the central part of the country; example 215, from Thrace.

Of

Who Was

Example 214. Vrdgdena nevesta (The Bride 45 Sovdeva, 42, of Novo-Selo, Troian.

M.M.

A 200

-

gra

Example

Buried Alive). Sung by Kera D.

-

gra

-

da

215.

gu

gra- da

mi

dil

^

-

lia -

gu

lia-ma,

-

s

ma,

gra

Sung by Christaki Bogdanov,

92, of

-

da

Pir

-

go

-

za.

Czunkiuprisko, Veliko-Turnovo, May,

8

1930.*

M.M. Js^S j Tro

gra

-

-

vi-tza

da

bra

de

gra

-

tia

-

da

gra

gra

ia,

Three brothers

-

da

gra

-

Sen

-

-

de

de

-

ia,

ra.

built a city,

Built the city Sendera.

The all

version which

other variants

Is

tells

familiar in the vicinity of Sofia

and seems

to

be

closest to

how

Skillful

Manoil

is

building bridges.

He builds them daily, they collapse at night. Two hundred helpers, three hundred apprentices For weeks and months have been losing the 5

No. 44. 'Stoin, Bulgarski narodni pesni ot Iztochna

fight.

J6id.,p. 17,

i

Zapadna Trakia

(Sofia, 1939), p. 15,

No.

33.

Types Manoil then proposes that, all else having failed, they resort to magic. Three hundred apprentices and two hundred helpers approve the desperate measure: the first wife to arrive with her husband's lunch on Monday is the one destined to be buried alive in the foundation of the bridge. Each of the workers except Manoil, the honest master builder, tells his wife not to bring lunch. Manoil instructs his wife Marika to do many extra chores before bringing his lunch to bathe the and then twins, Peter and Pavel, to go to the mill, to paint the fence, and so on not to hurry on the way in the morning. As Marika passes through the village she calls to her neighbors to come with her as they do every day, but one by one they give the same reply, that they will catch up with her later. The elements themselves try to come to Marika's rescue by hindering her progress. As soon as she is out in the fields, a dust storm sweeps down upon her and fills her husband's lunch with dust and sand. She returns, prepares another lunch, and sets forth again. The second time it begins to rain so hard that water, waistdeep, covers the road. But nothing can stop Marika. When Manoil sees her, he begins to cry. are you weeping?" his wife asks. He explains that he has dropped his ring, his golden ring, into the foundation of the bridge. Marika goes to look for the golden ring, and then the others inform her of the hopeless-

"Why

engagement

down

ness of her situation. She asks:

Manoil, haven't I been a good wife to you? Manoil, didn't I do all you wanted?

Why do you bury me in this cold ground? What will you do about our little children? What will you tell them when they cry and ask

for

me?

She then begs to be allowed to go and kiss her children goodbye, but the workers feverishly build around her. When the cruel task is completed and the workers have gone home, the master builder, heartbroken, remains to mourn his lost wife

and grieve over the future of his two motherless children. This is an especially fine example of the Bulgarian ballad.

It treats

one of the

that an edifice may be saved from destruction oldest superstitions in the country by building into the foundation either the shadow of a human being or the person himself, usually a young woman or a young man who is an orphan, an invalid, or a stranger. The legend has been so persistent that even today superstitious peasants will not cross certain river bridges because at one time people had been cemented

into their foundations alive.

47

When the Eastern Orthodox Church introduced Christianity into Bulgaria in the ninth century, the already colorful folklore was further enriched through the Arnaudov, Ochtrki pp. 569-573. Arnaudov points out that the belief that a human soul from destruction is found in Greek and Rumanian folklore also. In Siam, people were taken from the streets and buried alive in the foundation of the city fortress. The victims were instructed to guard the city and warn its citizens of the approach of any enemy. In India, until recently, criminals and prisoners of war were buried under the city towers in order that they would be transformed into benevolent spirits to guard against demons. For the Celeo bridge between Caudan and Faouet in France, a child was placed in a barrel and then sealed into the foun47

.

.

.

,

will save a building

dation in the early nineteenth century. Similar incidents are recorded in the legends of England and

Germany.

Types

134

observance of numerous church holidays and saints' days. The titles of some of these religious songs will best describe their nature: "God Appeases a Storm at Sea/ "St. George Liberates the Slaves," "St. Peter Comes to Earth/' "St. John in Paradise/' "St. Nicholas Builds a Church in Mid-Ocean/* "Punished for Not Observing St. Elijah's Day/' "Abraham Offers His Son as Sacrifice/* "The Rich and the Poor in Heaven/' The religious folk songs are particularly naive and primitive; 1

when dealing with

Biblical stories they follow the text only loosely.

from daily patterns which would seem extremely circumscribed and uninspirational to civilized outsiders, an endless wealth of folk song has arisen. The creative spirit of the Bulgarian people, at least when the major part of this folk music was evolving, seems to have thrived in a barren and arid soil. Thus it served to enrich the lives of the village folk out of all proportion to It is significant that

the poverty of inspiration

provide.

which the

collective experience of the people could

CHAPTER SEVEN

INSTR UMENT S

OLK instrumentalists in Bulgaria are not "professional" musicians in the accepted sense of the term. The only professional musician in the rural districts is the church singer, called psalt. The peasant musician works at his trade or profession during the week; only on Sundays and holidays does he practice his which is thus a free art. On special occasions he may take time off from his regular work to play for weddings or other celebrations. He is almost never a 1 traveling musician. He is instead an established member of the community, respected because of his accomplishments. The national poetry represents the folk musician as a carefree, happy-go-lucky person, interested only in beauty. He is sensitive by nature, has a good ear, can imart,

provise with facility, and plays his extensive repertoire with amazing accuracy year after year, though he plays from memory. Four national instruments are used most frequently in Bulgarian folk music: the gusla, the kavdl, the gdida, and the bulgaria. In addition, among the percussion instruments, the drum and the tambourine are most popular.

THE

GtrSLA

The gusla is also known as gudulka. It is a pear-shaped, bowed instrument of the rebec family, brought to Spain by the Arabs in the eighth century. (See p. 140.) The instrument rests on the knees of the player, the bow being drawn across the strings in much the same manner as with the cello. The gusla ordinarily has three strings, the pegs of which are triangularly placed in a heart-shaped neck. The body and the neck are made of one piece, usually scooped out of mulberry wood. The sounding board is of pine, with a semicircular resonance hole on each

The

side.

go directly to the pegs, not touching the nut at all; as a result, the strings are from two to three inches above the fingerboard. The various pitches, therefore, are not obtained by pressing the string, as in the violin, but by lightly strings

1 The Bulgarian gypsy represents the traveling minstrel in Bulgaria. However, he is not the unusual musician that his counterpart in Hungary is. Although the Bulgarian gypsy is usually an

excellent instrumentalist technically, his taste in interpretation and choice of repertoire leaves to be desired. His contribution to Bulgarian folk art is therefore negligible.

much

Instruments

136

touching them on the various nodes and thus causing the strings to vibrate in segments, as in the production of harmonics on the violin. The strings are made of gut and are tuned in perfect fifths, as are those of the violin. In recent times, instruments with more than three strings have are by no means standard.

made

their appearance,

but these

Technically, the instrument does not have the limitations which the principle of the production of harmonics imposes on the violin. Therefore, runs, trills, and grace notes are practical on the gusla. Example 216 was performed on this primitive folk instrument.

Example 216. Koichovoto horo. Played on the gusla by Stoino Bonev, 2 Han, Drenovo.

28,

from Stanchov-

M.M. J\360

THE BULGARIA (OR

BCrGARIA)

3

The

a delicate, plucked instrument, twenty-eight to thirty-one inches bulgaria a descendant of the Oriental tambour or the second-century pandura. long, possibly There are two metal strings, tuned either in fourths or in fifths. In some parts is

of the country there are bulgarii with three strings. The strings are plucked with a goose feather or a plectrum of cherry bark. In manner of tone production the is similar to the mandolin; the tone of the bulgaria bulgaria, however, is somewhat softer

and more

The tamburd

metallic.

very similar to the bulgaria, but is only a little more than nineteen inches in length. It has four metal strings, tuned in pairs, either in fourths or in fifths* is

Each

string produces twelve to sixteen semitones, giving the instrument a range of about two octaves.

Both the bulgaria and the tamburd are melodic instruments, effectively interpolating parts between the strophes or playing the melody with the singer. The historian Konstantin Jierecek thinks that these instruments were brought 2 8

Narodni pesni ot Sredna Severna Bulgaria Pronounced bull-gah-ree-a; boo-gah-rce-a.

Vasil Stoin,

(Sofia, 1931), p. 872,

No. 2712.

Instruments from Asia Minor

to Bulgaria

137

by Turkish shepherds. However, the Bulgarian musiTurks who

cologist Ivan Kamburov finds this to be highly improbable, since the came to the Balkan Peninsula were not shepherds. 4

THE KAVAL (DODOK) The

kavdl

is

a

wind instrument resembling the

flute in size

and manner of tone

thumb in the productipn. back. The length is from twenty-eight to thirty-four inches. There is a smaller kavdl which sounds an octave higher. Whatever the size, the range is two octaves It

has six or seven openings in front and one for the

is no standard key in which the instrument is uniformly made. Because of the melancholy quality of its tone, it is referred to as meden (honeytoned) kavdl in the folk poetry. Since it appears constantly in the folklore and maintains an unrivaled popularity, it has come to be considered the truly Bulgarian national instrument. It has a wide color range, resembling the clarinet in the high register, the flute in the middle register, and the oboe in the low register. In the hands of skillful performers the instrument is capable of holding the atten-

and there

tion of concert and radio audiences just as are its brothers, the sophisticated woodwinds. However, the kavdl is more at home in open spaces in the hands of the shepherd who, to combat loneliness, plays the kavdl by the hour, day in and day out. He plays his tunes as he knows them, with thousands of variations of rhythmic art of patterns so complicated as to make the original unrecognizable. The great to 217 the kavdl in the lies provides improvise. Example performer's ability playing

a typical illustration of the ease with which the kavdl can trills, and grace notes in a free and improvisatory style.

Example

217. Krepkata. Played

on the kavdl by Angel Nenkov,

5 Orehovo, October, 1927.

*

6

Ivan Kamburov, Mtizika Stoin,

Narodni pesni

ot

i

narod

(Sofia, 1932), p. 27.

Timok do

manage

Vita (Sofia, 1928), p. 1087, No. 4073.

fast passages,

48, of Krushovitza,

Jl

Instruments

A)

-v

A

jf

T

f

139

nJi

THE GAIDA a bagpipe, not very different from the Scotch or Italian variety. The gdida is range governed by the skill of the player, but two and a half octaves is considered

The

is

exceptional. There are six openings in the fingering pipe and one for the thumb which controls the air column; these determine the pitch. Sometimes the gdida has two drones, called iso, sounding a perfect fifth apart.

The

everywhere, at dances, at the sedenka, at engagement parties, at play music that is happy or sad. Like the kavdl player, the piper the few short measures that the folk tune provides. Of all nationalon improvises instruments, the gdida is the most difficult to capture in written music: first, because

gdida

wedding

is

feasts, to

modern music notation does not have of the endless decorations added

by

the necessary symbols; second, because performers; and third, because the same melody all

never played twice in the same way. The shrill quality of the tone produced also adds to the difficulty. The quotation in example 218 illustrates the use of the iso. is

Example

218. Played by

Todor Chr. Boshnakov,

44, of Chadurli, Sevlievo.

M.M.i 13$

-r8

Stoin,

Narodni pesni ot Sredna Severna Bulgaria, p.

872,

No. 2716.

8

s < o

C/D


O

Instruments

141

PERCUSSION The

only percussion instruments consistently used in Bulgarian folk music are the tambourine and the bass drum. The tambourine is rather crude in construction

and

used in the same manner as

is

it is

in

Western music.

The

tupdn, or bass drum, also is crude, often home-made, with a skin thirty to inches in diameter. It is played with a hard mallet in one hand and a soft, forty flexible stick in the other. The hard stick is used for the heavy accents, the soft stick for the secondary. The latter is placed against the skin and vibrates while the heavy mallet strikes the skin on the opposite side, so that the total percussion effect

would be

as follows:

heavy mallet

Tu* aii: The

clarinet

and the

stick

violin were imported into Bulgaria during the second half

of the nineteenth century and are now in general use. Widely used in Macedonia and those parts of Bulgaria where the Pomaks live is the zurnd, a double reed of

the oboe family, an Arabic instrument which found its way into Bulgaria through the Turks. None of these instruments is native to Bulgaria and thus will not be discussed here.

How well

the virtuoso folk instrumentalist stands socially in comparison to men and professions may be seen in the text of the Macedonian folk song,

of other trades

Komu

me

da

Example

dade? (example 219).

219.

Komu

da

me

dddef (To

Whom

to Betroth Me?).

Sung by Anastasia D,

7 Pepova, of Skopie.

Vivo

3at

i^P Chu-di-la

mi

se

-

la

ma-ma

ko-muda me

da- de?

m Da me da

Ba-kal-che

za

de

-

m&

ka

e

-

ba-kal-che

ia

ba-kal-che

ko glu-shetz

ot

vre-kia

My dear mother wondered8 and wondered To whom to betroth me. To betroth me to a grocer

la bakalche n^ikiam!

I

k^ko glushetz Ot vr^kia na vr^kia.

Grocer's like a bird, From sack to sack.

8

Bakilche

7

e

Cheshmedjiev, Bulgarski Makedonski pesni This couplet repeats before each stanza. losif

vre-kia.

mdma Komu da me dade? Da me dade za bakilche

Chfidila se mila

&

na

nei-kiam!

want no grocer!

(Sofia, 1926),

pp. 22-23.

Instruments

142 Da me

To betroth me to a teacher

Daskalche e kako kuche

I want no teacherl Teacher like a dog wanders

dade za daskalche la daskalche neikiam!

Ot

selo

na

selo.

Da me dade

za rnals tor chela malst6rche neikiam! Maist6rche e kako ptle

From village

to village.

To betroth me to a builder

Ot grda na gre"da.

want no builder! Builder's like a rooster From rafter to rafter.

Da me dade za ribarche

To betroth me

la ribarche neikiam! Ribarche e kako krapche Nad voda pod voda.

I

Da ine dade za gaidarche

To betroth me to

la gaidarche sakaml On ke sviri ia ke igram,

I

Ke

se

pog6dime!

I

to a fisherman

want no fisherman

1

Fisherman's like a fish Under and over the water.

want a piper!

a bagpiper

He will play and I shall dance, And thus we'll get along together.

CHAPTER EIGHT

C

ON C L USION

YSTEMATIC study of the folklore of Bulgaria and Macedonia on a sciena recent development. The branch that deals with music has been especially handicapped by the lack of available material. When some of the music was finally gathered and put on paper, the question of how authentic such notations were immediately arose. At the turn of the century, when Bulgarian scholars went abroad to study, they realized that other European countries had already established traditions concerning the folk music of their respective nations. These European-trained musicians, therefore, returned to Bulgaria with a new enthusiasm and a great desire to uncover and preserve Bulgarian folk songs. As an immediate result, the various sborniks were published by both government and private agencies. When the printed volumes appeared, certain discrepancies were noticed: the same folk song might have innumerable "authentic" versions. Although Bulgaria today occupies an area of only 42,741 square miles (comparable in size )

tific

basis

is

to the state of Tennessee), the make-up of its population is complex; the linguistic and ethnological influences are varied. Frequently, dialects differ in towns only

a mile or two apart. In some of the border districts, much of the vocabulary of neighboring countries may have been absorbed into the local dialect, a situation especially typical of Macedonia, whence come the earliest Bulgarian folk songs on record.

Geographic, historical, anthropological, and linguistic research has shed new light as interest in the national culture spread, the controversy over the authenticity of notation and transcription of the native song became more intense, but not more objective. Not infrequently, articles and books supposedly authoritative did not rise above the level of race prejudice and chauvinism. In music, specifically, metric complexities have made study and analysis difficult. Oriental scales, the use of intervals smaller than the semitone, and imperfections in the construction of folk instruments are but a few of the factors that account for the relatively small musicological output in Bulgaria. The efforts of a handful of native scholars who have dedicated their lives to the study of the traditions, legends, and art of their people have remained even today inaccessible to the student of folklore who does not read Bulgarian.

on a hitherto neglected folklore. However,

Conclusion

144

is my hope that the present study will open the field to interested students of folklore and musicology who formerly were unable to investigate the folk music of Bulgaria and Macedonia. The folk songs have been presented exactly as they are, simple and direct, the expression of the customs and beliefs of an unschooled

It

people. They are characterized by tender expressiveness, straightforward realism, and striking originality. They are, I believe, a tribute to the creative genius of the

Bulgarian

To

folk.

the scholar, folk music

and

is

something apart

to

be examined

scientifically,

But

in the final analysis the enduring quality of all folk song worth preserving is this close association with simple folk. Theories about the origins of folk music come and go, but in simple cultures the folk singer works at his creations oblivious of scholarly discussion. Knud Rasmussen, in his an1 thropological study of the Seal Eskimos, recorded a statement made by the Net-

catalogued,

classified.

silingmiut folk singer, Orpingalik, which describes the creative process as to the native artist:

it

seems

Songs are thoughts, sung out with the breath when people are moved by great forces and ordinary speech no longer suffices. Man is moved just like the ice floe sailing here and there out in the current. His thoughts are driven by a flowing force when he feels joy, when he feels fear, when he feels sorrow. Thoughts can wash over him like a flood, making his breath come in gasps and his heart throb. Something, like an abatement in the weather, will keep him thawed up. And then it will happen that we, who always think we are small, will feel still smaller. And we will fear to use words. But it will happen that the words we need will come of themselves. When the words we want to use shoot up of themselves we get a new song. 2

Knud Rasmussen, "The Seal Eskimos: Simplicity through Poverty," Anthropology (New York, 1948), pp. 117-141. 1

2

1 bid., p. 139.

A Reader

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J. F. Chipev, 1940. VELEV, ST. "Pomashki pesni," Rodopski pregled, Vol. II, pp. 156-158. VELICHKOV, ATANAS. "Narodnata religiozna pesen," Filosofski pregled (Sofia), Vol. VI, pp. 254-273. VENELIN, IURII. Drevnie i nineshnie bolgare v politicheskom, narodnopisnom, istoricheskom i religioznom ih otnoshenii s Rossianam. Istoriko-kriticheskia iziskania. Moscow, 1829. O harakter narodnih pesen u Slavian zadunaiskih, Moscow, 1835. VERKOVICH, STEFAN. Drevnia bolgarskaia pesnia ob Orfee. Moscow, V. D. Dashkov, 1867. Narodne pesme Makedonski bugara. Belgrade, Pravitelstvenom Knigopechatnom, 1860. Le Veda slave: chants populaires des Bulgares de Thrace et de Macedoine. Belgrade, 1874. VLADIGEROV, PANCHO, and others. Bulgarski pesni. Sofia, Suvremenna Muzika, 1936. VOZNESENSKI, IVAN IvANOViCH. Bolgarskii rospev. Kiev, 1903. VRANCHEV, I. "Bulgaromohamedanski pesni iz Pashmakliisko," Rodopa, Vol. X. "Srednorodopska pesen," ibid.. Vol. IX, Nos. 2, 7. VURBANSKI, A. Pesnite na Berdnianskite bulgari. Nogaisk, 1910. WALLASCHEK, RICHARD. Primitive Music. London, Longmans, Green and Co., 1893. WELLESZ, EGON. "Eastern Church Music," Grove's Dictionary of Music and Musicians. Supplementary Volume, edited by H. C. Colles. New York, Macmillan Co., 1944. .

.

.

.

WILLIAMS, ALFRED MASON. Studies in Folk-Song and Popular Poetry. London, E. Stock, 1895. WILLIAMS, RALPH VAUGHAN. National Music. London, Oxford University Press, 1934. ZAHARDJIEV, IURDAN. "Lazaruvane v Kamenitza, Kiustendilsko," Izvestia na narodnia etnografski muzei v Sofia, Vols. X, XI, pp. 187-202. ZAHARIEVA, N. "Pesni iz lichnia Hvot," Izvestia na Seminara po Slavianska Filologia (Sofia), Vol. V (1925).

ZALOV, N. "Narodni pesni ot Rodopite," Rodopski pregled, Vol. IV, pp. 3741. "Rodopski narodni pesni," Pirin, Vol. II, pp. 108 ff. ZANETOV, G. "Bulgarski narodni pesni ot s. Kongas, Besarabia," Spisanie na Bulgarskata Akademia .

na Naukite, Vol. XLV, pp. 121-144. ZELENIN, DIMITRII K. Russische (ostslavische) Volkskunde. Berlin and Leipzig, 1927. ZIDAROV, A. "Fizicheskite i fiziologichni osnovi na muzikata," Muzikalen pregled (Stara-Zagora), Vol. VI, Nos. 5, 7, 8 (March 10 and April 25, 1929). ZLATANOV, K. "Narodni pesni ot Hvoina," Rodopski pregled f Vol. I, p. 106.

INDEX

Additive meters, 23, 24, 28 Aeolian mode, 66 Airplane Sonata, 46 Aksak, 25, 29, 29 n. Albanian music, influence Alexius I, 12 Anacrusis, 77

Anaphora,

An gas, 20

Bulgarian folk dance, 23; Chepnitza, 29; Deve'rsko horo,43; fire dance, 11 n.; Ganinata mdika, 35; Haidushka igrd, 35; Hoiisa, 31; Izrichdnkaf 31; Kovaddrche, 34 n.; Krivo H6r6, 35; Ludoto, of,

Makedonsko horo, 34; Mori shto mi tekna, Obiknovenna ruchenitza, 28; Orhaniiska igrd, 35; Paid&shka, 24 ff.; Pileto mi pee, 34 n.;

34

31;

34

Povurnato horo, 29; Povurnushka, 31; Prosto horo, 16; Radomirska igrd, 31; Ruchenitza, 24

120, 130

n.,

42

Antheil, George, 46

n.,

Arabic scales, 52,

54, 55, Aristoxenus, 21, 21 n.

56

ff.,

34; Tropliva igrd, 31;

society, 141

Bulgarian folk instruments: bulgaria (bugaria),

ff., 27, 49-50 54, 57, 62, 76, 130; in glds VI,

135, 136-137; gdida, 81, 89, 135, 139; gusla (gudulka), 10, 135-136; kavdl (duduk), 89, 135,

137; tambourine, tupdn (bass drum),

Bagpipe (gdida), 81, 89, 135, 139 Balkan Peninsula, Turkish conquest

of, 5, 9, 13,

112,113 2, 132-133 Barry, Phillips, 4

Ballad,

4, 6, 24,

Vetrenska horo,

Bulgarian folk instrumentalist, 135; position in

61,62

Barsky, 13 Bart6k, Bela,

26

29

Arnaudov, Mihail, 15 Asen II, 9 Asymmetric meters, 20

Augmented second,

n.;

45

Basil II, 9

Bass drum, 135, 141 Battenberg, Alexander of, 10 Bohemia. See Czechoslovakia; Slavs. Bolgarski rospev, 58 Boris I, 8 Bortnianski, 13 n. Britten, Benjamin, 45, 46 Biicher, Karl, 2

Bugaria. See Bulgaria Bukofzer, Manfred, 23 Bukoreshtliev, Angel, 65 Bulgaria, 135, 136-137

135, 141; 135, 141

tamburd,

136;

Bulgarian folk music:" Albanian influence, 34; character of, 5, 14, 144; in church compositions of Kukuzel, 12; collections, 1, 14, 22, 67, 143; destroyed by Greeks and Turks, 12; diatonic progression, 67, 73, 76; factors affecting, 5; harmony foreign to, 81; Occidental influence, 17, 25, 66-67; origin, 1 ff.; ornamentation, 75 fL; pre-Christian, 11; suppression of, 11, 13; transcription, 51, 143; use of anaphora, 120. See also Melody; Meter; Notation; Scales; Structure Bulgarian folk songs, 108-134; children's, 113, 128-129; Christmas carols, 26, 54, 113, 121-122; engagements, 114; evening (work), 127-128; first in print, 14 n.; heiduk (hero), 48, 111-113; historic, 108-110; humorous, 113, 124-126; love, 113-114; midday (work), 127; morning (work), 126; nature, 112, 123-124, 131 ff.; out-

Bulgaria: boundaries, 10; claims Krali Marko, 110; history, 7 ff.; introduction of Christianity,

doors (work), 126-128; religious, 134; the supernatural, 130-134; time of drought, 113, 122; wedding, 115-120; work, 113, 126-128. See also Folk singer Bulgarian folklore, 130, 133-134, 143

133; literature, 10; National Republic, 10; racial origins, 8 ff.; size, 10, 143; under Turkish yoke, 5, 9, 13, 112, 113; after Turkish liberation, 25. See also Orthodox Church, Bul-

text, 104, 105; logogenic setting/ 22, 28, 82; melismatic passages, 76; melogenic setting, 27, 82, 83; monophonic setting, 81

8, 11,

garian Bulgarian chant: books on church music, 12; distinctive from Greek, 12; first composer, 12; manuscripts, 13; Middle Ages, 12; in Russia, 11,

13, 58, 59;

twelfth century. 12. See also

Medieval modes; Osmogldsie

Bulgarian folk verse, 23; interruptions of

Bulgarian musicology, viii, 52, 137, 143 Bulgarian peasant: attitude- toward nature, 112, 123, 130, 131; creative genius, 134, 144; isolation, 13, 66; as musicians, 5-6, 10-11, 51, 58, 75, 77, 135, 141; recent changes, 66, 67; sense of

humor,

125; subjugation, 5, 9, 13

i

Index

58

Gldsove, 59; of Eastern Orthodox chant, 55; notation of, 64; and Oriental scales, 63-64 Goleminov, Marin, 83

Butterfly (Peperuda), 122 Byzantine chant, 12, 13

Byzantine control,

9, 12, 13,

66

Greece, 9; music,

Cadence, 73-75; 115;

final, 115;

ornamental

half cadence, 73, 86,

final, 73, 74.

Caesura, 73, 104-105 Carter, Elliott, 46

Chant: Bulgarian, 11, 12, 13, 58, 59; Byzantine, 12, 13; Eastern Orthodox, 55 Chepnitza, 29

n.,

alterations, 57

Chromaticism, 67, 86 Church modes. See Medieval modes; Osmogldsie Copland, Aaron, 46 Cross, Samuel Hazzard, 7 Cyril and Methodius, 8 Cyrillic alphabet, 8

Czechoslovakia: Kuba, musicologist, 28; Strashak compared with Ruchenitza, 24 n. See also Slavs

Dance. See Bulgarian folk dance. Debussy, Claude, 45 Deversko hard, 43 Djudjev, Stoian, 21, 22 Dorian mode, 21 , 64-65, 66, 72

Drum

10, 12, 13, 66;

Orthodox

Gregor Nikeforos. See Nikifor Gregoras Grimm, Jacob and Wilhelm, 2 GudHlka. See Gusla

Gummere,

Francis B.,

2,

3

Gusla, 10, 135-136 Guslar, 10, 11 Gypsies, 122, 135 n.

55, 56, 57

Chromatic

21-22, 27, 31, 58; odes,

viii, 12,

Orthodox clergy,

liturgy, 11

See also Glds

Cheshmedjiev, losif, ix Chinese music, 1, 53 Christmas carols, 26, 29, 54, 113, 121-122 Christov, Dobri, viii, 15, 21, 25, 27 n., 36, 52

11 n.;

Haidtishka igrd, 35 Halffter, Ernesto, 46 Handkerchief dance. See Ruchenitza

Harmony,

81

Harsanyi, Tibor, 46 Heiduk songs, 48, 111-113 Helmholtz, H. L. F., 53, 55 Hemiolia, 23, 25, 27, 32, 86 Hidjaskiar, 55 Wdschas, 55, 57 Hindu music, 1, 21, 27 n.; angas, 20 Bhairava, 61; ragas3 58

n.,

42; raga

Hoffmann-Krayer, 3 Hoiisa, 31 Hero. See Bulgarian folk dance 55, 56 Hypolydian mode, 65

Huseni,

(tupdn), 135, 141

Duduk, 135, 137, 139 Dumbarton Oaks Concerto, 46

Instruments. See Bulgarian folk instruments Intervals, 67-71; augmented, 70; augmented sec-

Eastern Orthodox chant, 55 Eastern Orthodox Church. See Orthodox Church Ecclesiastical modes. See Medieval modes Echoi, 12, 58. See also Glds "Eight-mode singing." See Osmogldsie

ond, 54, 57, 62, 76, 130; major and minor thirds, 71; major and minor seventh, 68, 69; in melismatic passages, 76; octave, 68; perfect fourth and fifth, 69, 76 Intervals smaller than sfemitone, 51, 52, 76; half flat, 54, 57, 72; half flat and half sharp never appear in same song, 71; half flat and half sharp not quarter tones, 17

Elongated beat, 21 ff. Elongated metric unit, 21

ff.

Ispahan, 57

Farmer, Henry, 55, 57 Fire dance,

11

n.

Folk dance. See Bulgarian folk dance Folk instruments. See Bulgarian folk instruments Folklore, 130, 133-134, 143

music. See Bulgarian folk music singer, 5-6, 10-11, 51, 58, 75, 77 songs. See Bulgarian folk songs verse. See Bulgarian folk verse Form. See Structure

Folk Folk Folk Folk

Gdida, 81, 89, 135,139 Ganinata mdika, 35 "Gapped** scales, 53 Caster, Moses, 3-4 Glds: Glds I, 59; Glds II, 60; Glds III, 60; Glds IV, 60; Glds V, 60-61; Glds VI, 61, 62; Glds VII, 62; Glds VIII, 63

Isperikh,

8,

Ivan Asen

27 n.

9 Izrtchdnka, 31 II,

Javanese music, 1, 53 cartes, 45

Jeu de

Jierefek, Konstantin, 112 n., 136-137

Kamburov, Ivan, viii,

ix, 15, 80, 137 Karadjch, Vuk Stefanovich, 14 n. Katzarova, Raina, viii, ix, 52, 53, 107 Kavdl, 89, 135, 137

Kittredge, George

Lyman,

kiuchek, 29 Korzybski, Alfred, 24 Kovaddrche, 34 n. KraliMarko, 110-111

Kremenliev, Atanas, ix

3

Index Krivo horo, 35 Kuba, Ludvik, 28 Kukuzel, Ivan, 12

Orthodox Church, Bulgarian: Byzantine 9, 12, 13,

58, 59; made autonomous, 10 Orthodox Church, Greek: clergy,

Laloy, Louis, 21 n. Liturgy: Bulgarian, 11, 12, 13, 58, 59; Greek, 11; Roman, 11; Russian, 58 Ludoto, 31

Lullaby, 128-129 Lydian mode, 65

Macedonia,

viii, 9, 10;

folk songs, 43, 45, 141, 143;

minor sixth in melodies, 69; meters, 21, 45; modulation in folk music, 7778; myxolydian mode, 66; use of zurnd, 141 Makedonsko horo, 34 of

intervals

of, 132-133 Marinkovich, G., 27 Mazurka, 24 n.

(ecclesiastical)

lian, 66;

Osmogldsie, 52, 58 origin, 58 ff.

definition, 59; notation, 64;

ff.;

Paeonic. See Meter, paeonic Paidiishka, 24 ff. Paisii, Father, 10 Pan6ff, Peter, vii, 28, 30 Papadikai, 12

Parry, Hubert, vii, viii, 4, 75 Peasant. See Bulgarian peasant

Penta tonic

52-54, 124, half tone, 54;

scales,

smaller than "gapped," 53

130;

intervals

transilient

or

Peperuda, 122

modes, 64

ff.,

130;

Aeo-

Dorian, 21, 64, 65, 66, 72; hypolydian, myxolydian, 66; Phrygian, 21,

65; Lydian, 65;

65

Percussion, 27, 135, 141 Persian scales, 55

Peter Grimes, 45, 46

Phrygian mode, 21, 65 mi pee, 34 n.

Pileto

Meier, John, 3 Melody, Bulgarian folk, 51-81, 83; range, 78-80 Meter, 16 ff.; additive, 23, 24, 28; asymmetric, 20 fL, 27, 49-50; paeonic, 23, 32,' 38, 82, 104; possible derivation, 21; quintuple, 24 ff., 31, 33; 16 ff.; unmeasured, 47 ff. See also

regular, Index to Metric Signatures; Structure; Mihail, Archbishop, 11

Time

Mori shto mi

3,

4

horo, 29

ff.,

33; in

Greek and in Bul-

garian music, 31

Radomirska

igrd, 31

Ragas, 58, 61

Regular meters, 16 %

Neumes, 12 Nikifor Gregoras, 112 Nikolov, Anastas, 58, 59 Notation: of folk melodies, vii, 24, 31, 51, 67, 143; of gldsove, 64; papadikai, neumes invented by (slavtano-bulgarski)

ff.

Religious songs, 134 Rhyming, 130 Rhythm. See Meter; Structure Rimsky-Rorsakov, 45 Roman Catholic Church, liturgy, 11

Rousseau, Jean-Jacques, 2 Ruchenitza, 24 n., 26, 27, 28; Muzka, 34; Obiknovdnna, 28; tenska, 29 Rumania, 9 n., 10, 34 n. Russia: Bulgarian church music in, 11, 13,58, 59; new musical techniques, 45

signs,

Obiknovenna ruchenitza, 28 Occident, influence on Bulgarian fishing,"

46

Orhaniiska igrd, 35 Oriental instruments, 136 ff., 130, 143; and gldsove, 6364; hidjaskiar, 55; hidschas, 55, 57; huseni, 55, 56; suuzinak, 55; uschdk, 55, 56

Oriental scales, 52

Ornamentation, 75

ff.

du Printemps, Le, 45 John of Damascus, 12

Sacre folk music, 17,

66-67

"Old Joe has gone

Povumato

Quintuple meter, 24

Naumann, Hans, 3

znamenny

use of zurnd, 141

Pound, Louise,

Protasis-apodosis, 106

tekna, 34 n.

12;

na Bulgarkata, 12, 60 Polyphony, 81 Pomaks, 66; use of minor seventh in music, 69;

Prosto horo, 16

Moussorgsky, Modest, 45 Musicology, viii, 28, 52, 137, 143 Mythology, 10, 11, 123, 130 Myxolydian mode, 66

Kukuzel, 58

Poetry. See Bulgarian folk verse Poleileiat

Povurnushka, 31

Mikrokosmos, 24 Milhaud, Darius, 45, 46 Modes. See Medieval modes; Osmogldsie Modulation, 77-78

25,

10, 12, 13, 66;

liturgy, 11

Manoil, ballad

Medieval

control,

66; clergy, 11, 125; liturgy, 11, 12, 13,

St.

St. Sofia Minologa, 31 Salon Mexico, El, 46

San Stefano, treaty

of,

10

Scales: Arabic, 52, 54, 55, 56; gldsove and Oriental, combined, 63-64; identical scales for happy

and sad melodies, 58; Oriental, 52 ff., 130, 143; pentatonic, 52-54, 124, 130; Persian, 55; untempered, 71; Western influence, 66-67

i6o

Index

Schlegel, A. W., 2 Schonberg, Arnold, 45 Scriabine, Alexander, 45 Sedenka, 41, 109, 125, 126, 139 Sequence, 80 Serbia, 112; Serbian composer notates Bulgarian asymmetric meters, 27 Sharp, Cecil, 4, 53 n. Shishmanov, Ivan, 8 Slaveikov, Pencho, 13 Sla.tnano-bulga.rski signs, 58 Slavs: early music, 11, 58; folk songs and dances, 126; geographic divisions, 7; history, 7; mythol-

ogy, 10, 11

Sonata da chiesa, 46 to St. Sofia Minologa, 31 Songs. See Bulgarian folk songs Stoin, Vasil, viii, 14, 21, 22, 23, 36 Strauss, Richard, 46 Stravinsky, Igor, 45, 46 Structure, 82-107; asymmetric, 102; groups of dissimilar measures, 103; incomplete, 105; monorhythmic, 84; ordinary and paeonic meters combined, 104; several groups of similar measures combined, 102

Song

symmetric, 84; groups of measures identical in number and meter, 84 tzdo-group structures, 85; two measures in each group, 85; three measures, 86; four measures, 86; five measures, 86; six measures, 87; seven measures, 87 three-group structures, 88 four-group structures, 88 five-group structures, 88; three measures in each group, 89; four measures, 90 six-group structures, 90; two measures in each group, 90; three measures, 91; four measures, 92 seven-group structures, 93; two measures in each group, 93; four measures, 93 eight-group structures, 93; two measures in each group, 93; three measures, 94 regularly repeating groups containing identical number of measures of dissimilar meters, 95 two-group structures, 95; two measures in each group, 95; three measures, 95; four measures, 96; five measures, 96; six measures, 96 three-group Structures, 97; two measures in each group, 97; three measures, 97; four measures, 97; five measures, 98

four-group structures, 98 five-group structures, 98 six- group structures, 99 regularly repeating groups consisting of different number of similar measures, 100 regularly repeating groups of dissimilar measures, 101

regular period relationship as exception, 17

Stumpf, Carl, 2 Suuzinak, 55 Syncopation, 64, 80

Tambourine, 135, 141 Tamburd, 136 Terpander, 58

Thomson, Virgil, 46 Time: basic unit, 21

ff.;

double and

triple, 17,

elongation of time unit, 21, 23; tempo giusto, 121, 130; tempo rubato, 130; temps premiers, 21 ff. Time signatures, prime-number numerators, 24 21

n.;

ff.

Titov collection, 58 Transilient scales, 53 Tropliva igrd, 31 Tupdn, 135, 141 Turkey: conquest of Balkan Peninsula, 5, 9, 13, 112, 113; Krali Marko as vassal, 110; music, 20-21, 25, 27, 29, 29 n., 35, 137 Till Eulenspiegel, 46

Unmeasured meter, 47 Untempered scale, 71

ff.

Uschak, 55, 56 Usul devr-hindi, 35 Usul tiurk-aksak, 25 Uvarova, Countess, 58

Vaughan Williams, Ralph, 4 Venelin, lurii, 14 Verse* See Bulgarian folk verse Vetrensko horo, 29

Vibagha, 42 Vladimir, Prince of Russia, 11 Voznesenski, A., 13 n. Wellesz, Egon, 58 Western influence. See Occident

Yugoslavia, 10, 27

Znamenny

signs, 58

INDEX TO METRIC SIGNATURES

I.

Regular patterns. In 2/4: examples 2,

In 8/16(3 + 2 + 3,

76, 79, 89, 90, 100, 101,

102, 105, 108, 117, 121, 143, 145, 147, 155,

162, 165, 177, 178, 183, 184, 185, 187, 189, 191, 200, 204, 215, 218.

154,

88,

examples

159,

Combination of 8/16 and 3/16: example 208. Combination of 8/16 and 5/16(2 + 3): ex-

ample

Combination of 2/4 and 3/4: examples 5,

3):

194, 205.

56.

16,

In 9/16(2 + 2

169, 170.

+ 2 + 3): examples

31, 70, 71,

119, 120, 140, 142, 160, 207, 216.

In 3/4: example 24. Combination of 3/4 and 2/4: examples 6, 17 Combination of 3/4 and 4/4: example 7. Combination of 3/4, 4/4, 2/4, and 5/4: ex-

ample 9. Combination of

3/4, 5/4,

and 4/4: example

8.

(2

In 3/8: examples 4, 26, 153. Combination of 3/8 and 2/8: example Combination of 3/8 and 4/8: example In 4/4: examples 73, 186. Combination of 4/4 and 3/8: example In 5/4: example

11.

14.

In 10/16 In 10/16

104, 118,

141, 158, 180, 190, 203, 206. In 5/16 (3 + 2): example 38.

Combination of 5/16 (2 + 3) and 9/16 (2 + 3 + 2 + 2): example 57. Combination of 5/16(2 + 3) and 11/16(2 + 2 + 2+2 + 3): example 62. In 5/8: examples 30, 32, 99. Combination of 5/8 and 3/8: example 13. Combination of 5/8, 4/8, and 3/8: example 167.

In 7/16(2 + 2 +

3):

examples

Combination of 9/8 and 5/8 193.

10.

19, 22,

:

12.

15.

Asymmetric patterns. In 5/16(2 + 3): examples

+ 3 + 2 + 2) example 46. (2 + 2 + 2 + 3): example

In 9/8

Combination of 5/4, 3/4, and 4/4: example

II.

(2 + 3 + 2 + 2): examples 45, 196. Combination of 9/16 (2 + 2 + 2 + 3) and 5/16 (2 + 3): example 173. Combination of 9/16 (2 + 2 + 2 + 3) and 7/16 (2 + 2 + 3): example 174. Combination of 9/1 6 (2 + 2 + 2 + 3) and 9/16

In 9/16

23, 25, 27, 28,

116, 139, 146, 157, 161, 163, 164, 182, 219. In 7/16 (3 +2 + 2): examples 39, 40, 137, 156.

Combination of 7/16(2 + 2 + 3) and 5/16 179. (2 + 3): examples 107, Combination of 7/16 (2 + 2 + 3) and 9/16 (2 + 2 + 2 + 3): example 166. Combination of 7/16, 5/16, and 9/16: ex-

ample 172. Combination of 7/16, 3/16, 2/8, and 5/16. See example 54. In 7/8 (3+2 + 2): example 41.

(3

(3

33.

(2

+ 3): example

+ 2 + 2 + 3): examples 43, + 3 + 2 + 2): example 49.

152.

In 11/16 (2 + 2 + 2 + 2 + 3): example 34. In 11/16 (3 + 2 + 2 + 2 + 2): example 42. In 11/16(2 + 2 + 3 + 2+2): examples 47,217. Combination of 1 1/16 (2 + 2 + 2 + 2 + 3) and 5/16 (2 + 3): examples 55, 175. Combination of 11/16(2 + 2 + 3+2 + 2) and

5/16

(2

+ 3): example

168.

In 12/16 (3 + 2 + 2 + 2 + 3): example 44., In 12/16(2 + 3+2+2 + 3): example 50. In 12/16 (2 + 2 + 3+2 + 3): example 51. Combination of 12/16 (2 + 2 + 3 + 2 + 3) and 7/16 (2 + 2 + 3): example 58. Combination of 12/16 (3 + 2 + 2 + 2 + 3) and 2/4: example 181.

In 13/16 (2 + 3+2 + 2 + 2 + 2): example 48. Combination of 13/16(2 + 2 + 2 + 2 + 2 + 3) and 9/16 (2 + 2 + 2 + 3): examples 171, 176. In 14/16 (2 + 3 + 2 + 2 + 2+3): example 52. In 14/16(2 + 2 + 2 + 3 + 2 + 3): examples 53, 150.

Combination of 15/16(2+2+2+2+2+2+3) and 9/16 (2 + 2 + 2 + 3): examples 35, 36. In 17/16(2 + 2 + 2 + 2 + 2 + 2 + 2 + 3): exampie 37.

In 19/16 (7/16 + 3/16 + 2/8 + 5/16): example 54.

Index

i&2 III.

Unmeasured songs. Examples

1,

18, 59, 60, 61, 65, 66, 69, 95, 97,

110, 122, 131, 132, 133, 135, 144, 188, 192, 195, 197, 198, 199, 201, 202, 209, 210, 211,

212, 213.

IV. Combination o

unmeasured.

Example

62.

asymmetric measures with

INDEX OF SONG TITLES

Where song

titles

do not appear in the text, first lines (both in the original and in been included in the Index.

Adorned Brother-in-Law, The, 43 Aide dude, 71 AliMnchev6di,42, Ali Leads His Horse, 42 Arranging Irinka's Engagement, 100 At the Girl's House They Plan a Wedding, 116 At Least, Dear Mother, I Was Long Enough a Bachelor, 117 Auntie, Let Todorka

Come with Me, 65

Barem si ergen, mdmo, pohodih, 117 Barren Goat, The, 68 Beautiful Horse, 61 Blaze na Dona, 87 Bogova zvezdd, 128 Bolen Doichin, 56 Boli Idna bela gurlo> 30

Bonka Has Been in Love with Shanko, '87 Bdnka sa liubi sus Shdnko, 87 Bore mi sa e, mdmo, zndilo, 63 Brdino lovdne, ne gledai momdta, 127 Bre Ttidore, 57 Bride Who Was Buried Alive, The, 132 Btilka Call

i

on Donka, Mother, 65

Carolers, Songsters, 121 Cheeli ke i k&pam, 105

Christmas Carol, 71 Chtidam sa mdicho, 68 Come, Thou Maiden, Bow Your Head, 118 Cursed Be the Hour, 95

Da ktigd ni drugdr ddvash, 93 Da sum zndila, 44 Dai, Bdze, duzd, 122 Dali gurmi? 63 Dark Fog, 79 Dear Flower, Beautiful Flower, 17 Did I Not Warn You? 89

with Her Quarrelsome Mother-in-

Law, 19

Young Maiden, 37 Elenka Had Made a Bet, 38 Elena mome, 37 Elena,

Guests, 115

Engagement

Father Has Just Gone Off to the Mill, 107 Fix Yourself Up, Radka, 92 For the Young Man We Begin Sowing, 116 Furchele mi, 20

Get Up, Stana, 99 Gleda brdta si, 95 GUdai me, gledai, 117 God, Give Rain, 122

Gold-plumed Partridge, 106 Gosti godeznitzi, 115

Gray Doves Flew, The, 20 Grozddnka i Eogddn Voivoda, 57

Had I Known, 44 Harvest Song, 47

Here Comes

H6r6

Silly lana,

25

igrde, 94

I dz beh I

ednd na mdika, 27

Do Not Grieve, Mother, 98

See Dark Fog, 120 Too, Was the Only Child of I Will Buy Her Slippers, 105 I Wonder, Mother, 68 Id nali ti kdzah, 89 Id stdni, Stdno, 99 lana's Fair Throat Aches, 30 I

I,

lanka Was Alone Idit

mdmo,

lele'no,

lovan

ti

D6nkinif 65

mome hubava, 99

Was

Hired, 64

Thundering? 63 lunak Song, 48 Is It

Izgrei

mif

idsno sliinchitze, 118

Domakinti dom doido m&, 40 Eld sa vivat 65

Kakuv

Iziadil e

Star, 128

Elena, the Green

Burning, 97 Elena, Pretty Maiden, 99

Hay

Is

My Mother, 27

When Overtaken by

Darkness, 77

dobur iundk, 40 Izlidzla na pMa, 102

Divine

have

How Long Can Our Friend Be with Us? 93

gord, 123

Dissatisfied

translation)

e spomen, 76 Kalina seno pldstila, 79 Kalina Was Gathering Hay, 79

Index

164

Open Wide the

Kapndla mi e kdpchitza, 90 Kato Gdna nide nema, 91 Kiten Dever, 43

Kogo Koi

ti

pitash, Christina, 125

kupif 42

Otodraip6rti,\\

Kolezddntzi, pesnopoitzi, 121 Kdmu da me ddde, 141 Konia, konia, rdnen konia, 61 Krali Marko, III Kurshim pletu, vdrdim se, 104 Kurvauitza na politza, 71

Paidtishka, 25 Peperuda, 122 Pilgrims to the

Libe Dobrinke, 54 Lib* 1-e, libe denguba, 92 Libe Petka.no> 97 Lift Your Veil, Purva, 88 Liubili su, Stoidn i Rdda, 83 Look at Me, 117

Lord Himself Worked Against Odds, The, 49 Lucky Dona, 87 Lullaby, 19

Podigni

si

devo, Purvo, 88

Pofdlila se Milkina mdika, 96

Poide Ldda na voda, 80 Poiskdla Rddka, 59 Polieleiat na Bulgarkata, 12 Poshli devoiki na sechki, 34 Potdino Rdda godia, 106 Pozgodil mi sa mldd Georgi, 62 Pray, Sweetheart, to the Almighty, 128 Prevedisa, 118 Proklet da e, 95 Prosperous New Year, A, 78 Pusni mi, lelio mari, Todorka, 65 Pustite mil, momif 70

Rada Was Secretly Engaged,

106

Radka's Desire, 59

Rdvna

Fell, A, 90 zelena mordvaf 71

Sadila

momd

Raindrop

Maiden Planted Onions, A, 62 Maidens Have Gone to Gather Firewood, The, 34

77

Samodiva grdd gradila, 29 Sednd momche da vechera, 41

Mdmi Stoidnu dumashe, 49 Mart devoiche nemilostivo, 83 Mart Eleno, 47 Mariika na stol sedeshe, 80 Mariika Sat on a Chair, 80 Marko's Wedding, 95 Mika's Mother Bragged, 96 Mldt Ruidn, 54 Moli se, libe, na Boga, 128 Mother, Dear Mother, Who Knocks

luk, 62

Samd Idnka zamrukndla,

Mdika Irinka godidva, 100 Mama, mila mdmo, 32

Sedni b&lka, 79 77 Shair po dvor odi, 85 Shair Walked through the Yard, 85 She Came Out on the Street, 102 Shine Forth up in the Sky, 118 Sick Doichin, 56 Seite, drushki,

at the

Siege of Pleven, The, 109 Sin mi kerko te miluval, 78

Singing Contest, The, 35

Gate? 32

Mother Told Stoian, 49 My Son Has Fallen in Love with You, 78

Na ergenia zasidvame,

116

Nadpevat set 35 Ndni mi, ndni, 19, 129 milo, Mario, 119

Nedovolna ot svekurva kavgadjika, 19

Nymph Built a City,

A, 29

Obsddata na Pleven, 109

OH bre ofchdrche, shliagdrche, Oil devdiko, shto

18

f

Last Night, 82 Last Night, My Love, I Passed by Deserted Vratza, 57 Lazy at Home, 120 Let Us Take Draganka, 130 Level Green Meadow, The, 71

te li

Holy Land,

Po livddi, po gramddi, 34 Pod drena 44

Lad Sat Down to Dinner, A, 41 Lada Went to Fetch Some Water, 80

Ne

Gates, 119

Ostdna kozd ialova, 68 Ot dolu ide ludata Idna, 25 Ot dolu Me mdmo, momche dolinche, 28

me

96 morish, 22

Sister Mariika, Have You Been to Sit Down, Young Bride, 79

Market? 70

Slaveiche pee, 60 Sluntzeto ne moze na nadgree Dobrinha, 131 Sluntzeto, Stdno, zatdda, 72 Sluntzeto trepti, izticha, 127 Snoshti doide, 101 Sndshti si, 82 Snoshti si minah, 57 Soki krekat, 105 Song at the Dinner Table, 49 Song of the Nightingale, The, 60

OH, Leno, 97

to St. Sofia Minologa, 31 for Swinging, 57 Sow, Friends, 77

Olele kdko, 70

Stoian and

Song Song

My

Rada Loved One Another,

83

Index Stoian Played on the Shepherd's Flute, 114 Stoidn sus svirka svireshe, 114 Stoian Was in Debt, 44 Strange lunak, A, 101

Sun Cannot Outshine Dobrinka, The, Sun Glitters As It Rises, The, 127 Sun, Stano,

Is Setting,

131

Sweet Dobrinka, 54 Sweetheart, Day dreamer, Sweetheart, 92 Sweetheart Petkana, 97 koii

mi kdra,

104

Rdtke, 92 Tebe peiern, chorbadzine, 26 There Are the Dark Horses, 86 There Was a Meeting, 48 There's No One Like Gana, 91 Tafri

se,

Think Again, Christina, 125 Three Days and Three Nights, To Whom to Betroth Me? 141 Todor Stole Stoian 's Oxen, 98 Torba strunkiama, 44

105

Tri dni i tri noshti, 105 Trunchitza sa obronila, 89 Tumna mugld, 79 Tunka pushka, 33

Turchin

sldza iz gord zelena, 20

the Green Forest, A. 20 Tzenil se lovdn, 64 Tzvete milo, tzvete krdsno, 17 TJkrdde Todor, 98

Under the Dogwood Tree, 44 Vangelina Has Fallen in Love, 72

What

Velo

lef

a Flirt

golem

Veno

gdliena, 33

Vilaseloza, 117

Vine Winds, A, 117 Vrdgdena nevesta> 132 Vrdneiat se vrdni konie, 86

Vuf momdta bidgur chistiat, 116

You Are,

gidvole, 96

Watching Her Brother Plow, 95

We Sing to You, Our Master, 26

Weeping for Indje voiv6da f 1 12 Who Bought You the Pretty Present? 42 Wild Maidens of Vakarel, The, 70 Will You Not Mourn, Maria? 119 Willow Bends Its Branches, The, 65

Young Bride and the Forest, The, 123 Young Georgi Became Engaged, 62 Young Ruian Has Fallen 111, 54 Young Shepherd, Pray Do Tell Us, 96 Young Tzona Has Just Lost Her Tiny Baby Boy, 83

Your Friends Are Weeping, 83 Your Mother, Stona, Has Given Zaddde

Turk Descends from

Vela,

165 le,

The, 72

Svetogortzi, 18

Ta

Veno

96

se, Stuie'ne le,

Instructions, 79

tumna mugld,

Zadulza Stoidn, 44 Zagubila Tzona, 83 2dlba, 98 Zaliubil Stuian tri momi, 23 Zaliubila Vangelina, 72 Zaoblagdla se Elenka, 38 Zaradi Indje voivoda, 1 12

Zarucha, Stona, mdika ti, 79 Zatrudil sa e sdm Gospot, 49 Zazeni se Mdrko, 33 Zdrdva godinchitze, 78 Zlatokrila idrebitza, 106

120

128 190