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Iotova A.I. ©
Professor of Music Education, Complutense University of Madrid, Spain TRAITS OF BULGARIAN FOLK MUSIC
Summary
Bulgarian folk music is recognized internationally and the "Bulgarian Voices" are fascinating world allover. This is one of the few South Eastern European countries that has preserved, researched and written musical folklore, considering it to be a national treasure. After a brief review of some of the most significant ethnic investigations of music in Bulgaria, in this article we focus on the traits ofpopular music in the different folk regions of Bulgaria, caused by different traditions, beliefs, customs, lifestyles and phonetic pronunciation resulting in different forms of expressive culture. There we present the results of an investigation whose purpose was to describe the traits such as: how to sing, the subject matter of the songs, regular and irregular meters commonly used in the melodies, typical instruments, dances, customs and rituals.
Keywords: Music, folk regions, Bulgarian folklore
Introduction
The word "folklore" was first used in 1846 by English archaeologist William John Tohms, under the pseudonym A. Merton, as a concept that embraces the traditions, beliefs, knowledge and customs transmitted orally. The word comes from English: folk - people, and lore-knowledge.
Folklore is the artistic culture, the collective art of a nation because it is a part, a component and a result of their daily activities.
Folklore as an expression of national consciousness is a socio-historical phenomenon and also a specific form of people's aesthetic relationship with reality [6].
The music of folklore expresses the aesthetic tastes of the social environment in which its popular creators live. To a large extent, Bulgarian folk music is characterized by a high artistic quality.
Bulgaria is one of the few European countries that has preserved, researched and written musical folklore, considering it to be a national treasure.
Brief historical review
In Bulgaria, the interest in folk music appeared in the first half of the nineteenth century. In the beginning it was to record the popular Bulgarian song texts. It was assisted by distinguished educators and public figures, such as Vasil Aprilov, Petko Slaveikov, Georgi Rakovski and others. Later publications and also individual songs or songbooks with the texts of the songs were published: "BulgariaFolk Songs" Dimitar and Konstantin Miladinovi (1861).
The main features of the meters and beats, as well as other issues were discovered in the writings of Dobri Hristov - "Basic rhythms of popular music" (1913) and "Technical structure of Bulgarian folk music" (1928). These works serve as the basis for all subsequent studies and have great importance for the development of the Bulgarian folklore. [5:135]
Among the major research-intensive Bulgarian folklorists is Vasil Stoin that collects 4076 vocal and instrumental melodies in his collection "Traditional Songs from Timok to Vit" in 1928. Stoyan Djudjev continues the work of Dobri Hritstov and Vasil Stoin. His extensive knowledge of music theory, ethnography and folklore, result in a wide range of theoretical and scientific advances in the organization of the meters and the fundamentals of melodies of the Bulgarian folklore. This is clearly demonstrated by several books/articles which he has written between 1929 ("Words and music in our popular song"), to 1971 ("Primary forms of recitative in the Bulgarian folklore")."Djudjev significantly expands on the problems in the research of Bulgarian musical
©© Iotova A.I., 2013 r.
folklore and created an accurate scientific theory which serves as a base to carry out research into the existence and development of folklore" [6:268].
Nikolai Kaufman is another very important folklorists especially for his investigations of the popular songs in the regions of Pirin and Rodopi, which reflects in his work "Folk Songs of Madan and Smolian" in 1960.
General features of the Bulgarian musical folklore
In the organization of the rhythmic meter most of the melodies are binary meters, but also filled with irregular meters such as 5,7,8,9,10,11,12,13 and 14. Of note is the massive presence of examples of songs without an established rhythm, where the regular pulsation of strong and weak beats is absent. These songs highlight the improvisational talent of the singers.
Most Bulgarian folklore tunes are monodic. The two voice songs have characteristics which are very specific in some areas such as Central West and Pirin.
Musical modes are varied and are based on four main types: diatonic, chromatic, enharmonic and pentatonic. Each mode has a different influence and acceptance in each region.
The folk dances are quite diverse in types and forms of dance. This is especially noticeable in Central West, North and part of Thrace.
The most representative Bulgarian folk instruments are kaval, svirka, duduk, dvoianka, bagpipes, zurna, gadulka, tamboura and drum. They are used on different occasions to accompany dances, meals, or in some popular rituals.
Bulgaria is divided into several folkloric regions, characterized by the different working conditions, originating from different traditions, beliefs, customs, lifestyles and phonetic pronunciation [8:51]. In these areas or regions the existence of intermediate areas influenced by the surrounding regions and the changes that have occurred as a result of migration of people from place to place to another should not be ignored. There are several different theories about the number of folkloric regions which exist. According to leading researcher Litova-Nikolova [6] 7 regions are recognized: Pirin, Central West, Rodopi, Thrace, North West, North Centre and North Este and Dobrudja. We will use the division into 6 regions: in which together we describe the part of North West and North centre together because they have common characteristics. Furthermore, this division is the most popular according to some 5th and 6th grade music books. (Fig.1)
Northeast folk Region Dobrudja
Folk RiglOh'North W«t add Cirtlril - ~ _. ¿¡agp ..
Central w»t Polt Degiqri Trakla Folk Region grT " ELAC*
■T i_ 1 , JM. Sf Rod*pi
Figure 1. Map of folklore regions of Bulgaria
Pirin Folk Region
The boundaries of this region are: River Struma (Blagoevgrad, Sandanski, Petri ch), river Mesta (Razlog, Bansko, Gotzedelchevsko) and length of the western part of the Rhodope mountains.
The Pirin region is dominated by a two voice songs (about 70% of the songs)[6].
Most often women are the singers who interpret the songs: one the sings with a high pitched voice whilst two or more interpret the second voice. The joining of the two voices occurs frequently and there is a tendency to sing the second musical interval [4].
144 ¡2 . —-
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Zi - - spa ■ la - m ■ Li - - Mt - d* - - Mi - - ■ lia
In this region there are no slow songs rich in adornments characteristics of the regions of Rodopi, Thrace and Dobrudja. Here the slow songs are filled with a kind of hiccup and trembling voice jumping to eighth or at times seventh interval normally at the end of the phrase or the middle of the word with a short and sharp "e". The song is sung from the chest.
In the region of Pirin songs of different themes can be encountered. One of the most beloved songs is about the work activities that are sung in the morning, at lunch, during breaks or after returning from the field. The songs of social gatherings "sedenkarskite" are very popular. Although in many places, the dance is more typically accompanied by instrumental music, the songs here accompany the dances and lively melodies with interesting content. The most common rhythums in this region are 2/4, 7/16 (rychenica) and 9/16. Wit and humor emanate from these wonderful songs, which were heard in the past in town squares and parties. Especially typical is the rhythm of 7/16 (3 +2 +2) which we, can observe in the most popular songs such as "Makedonsko devoiche", "Liliano Mome, Liliano", "Zashumete died in Pirin", "Devoiche belo, tserveno" and many others.
While women are the ones who mainly sing in two voices in Pirin, the instruments are mostly played by men. The most typical instruments are the "high" bagpipes, called "Jura" and the tambura, as well as tupan and dvoianka.
The dances of the region of Pirin are diverse and are divided into male and female. The female dances are often accompanied by singing and are rather moderate. They dance in a circle, semicircle or a straight row. The dances for men have a faster pace due to the instrumental accompaniment.
Central West Folkloric Region
This region is located between Pirin and Stara Planina, to the west is Serbia and to the east you gradually reach the Thrace region. It includes Shopluka (Sofia, Slivnitza, Svoge, Samokov, Stanke Dimitrov, Radomir), Graovo (Pernik, Brznik) and west parts of Godechko, Transko, Kiustendilsko [4:20].
The character, language, temperament, and their folk customs, distinguish the population of this adjoining region. Their music is very different from Thrace. With their prankster nature and hot temper, their songs are full of wit.
Especially characteristic of Central West Shopluka is the song in two voices in a very small ambit with second parallels. Usually one singer deals with the first voice, the other is sung by two or more women. The second voice is usually immobile on the first degree of the mode, sometimes down to the seventh grade to avoid unison the first voice lowers to first grade. Thus the feeling of a second vertical organization is maintained [6].
These songs covering all genres: old "sedenkarski" round the table songs, songs that accompany the labors of the harvest. They can be of one or two voices. Monodic songs are more hectic and joyful, often with a shout at the end of the phrases. In the song, whose theme is the work of wheat in the fields, used a decorative effect, a kind of trembling throat that fragments notes into small durations, typical of this folklore region.
The songs for two voices are interpreted only by women who sing openly, loudly and with sharp tones.
The uneven bars are encountered in songs with different themes. Their diversity increases as we move towards Pazardzhik, Ihtiman and Sredna gora.
An important part of the songs, sung in the chores of cultivating wheat and weddings are not as regular (without measure).
The dance of the "Shopi" is light, lively, it appears that the feet do not touch the ground. These dances are usually accompanied with shouts of courage and vigor by the men "ha-a" or "e" thus putting an emphasis on the complex steps of the dance.
They are many combinations of dances. "Sitno mujko Hunch" in 2/4, "Chetvorno" in 7/16, "IOVE" in 7/16 +11/16, "Lile, lile" on 9/16, "Dilmano, Dilbero" on 8/16 and many others.
Folklore of the Rodopi Region
This region includes the municipalities of Asenovgrad, Smolyan, Madan, Zlatograd, Kyrdjali. Velingrad. It has its own tradition and originality.
Monodic songs with a lyrical character predominate. The most authentic style is the central part of Rodopi, where even today popular singing is constantly heard. In the eastern part one can note the influence of the Thrace region and in the western part the influence of the Pirin region.
In Rodopi men and women alike sing.
In this region one often enconters folk songs in the pentatonic mode, both in the songs of the Bulgarian Christians, as in the songs of the Bulgarian Muslims. The pentatonic melodies are not the predominant ones, but as they are not as frecuent as in other regions and are thus considered characteristic for Rodopi [6:235]
Songs at social gatherings called "sedianki" covering various topics, are typical here but more typical are those about love, especially sung by young people.
There are still wedding songs from the recent past which have had a special place in the ritual of weddings.
Many popular songs are related to the going away and the return of seasonal work (called "gurmet"). The men left their homes in the winters to seek work further south. These songs are poetic and strongly connected to sentimental issues, reflecting the sadness of men forced to seek work far from home.
One of the most typical issues of the region of Rodopi has to do with the main subsistence work: grazing.
Two of the most famous songs are "Bela bela iunache sym" and "Izlel and Deliu haidutin".
Songs without meters often coexist with others with meters of 2/8, 3/4, 5/4, 5/8, 7/8 and 9/8 very common here.
Musical instruments that resonate in Rhodopi is the base bagpipes, the tambura and kaval. The most common instrument of this region is base bagpipe, called "kaba", characterized by being larger than the "Jura" and emits a, long low and dull sound.
In Velingrad and the village of Nedelino two voice songs are sung, but it is an entirely isolated case within this folklore region.
In Rodopi it is typical to dance to songs, as well as instrumental music, in which men and women form separate circles or semicircles. The men dance more freely and with large steps, while women make a closed circle, very close to each other.
Trakia Folklore Region
The Thrace region is found in the plains of the same name. It is surrounded by the Pirin, Rodopi, Sredna Gora and Stara Planina mountains. If one heads eastwards one reaches the Black Sea. This area includes the eastern part of Pazardjik and includes many villages in the eastern part of Rodopi. The Thrace region includes an interesting sone colled Strandja, which some folklorists consider a region on its own and consider it separated from Thrace.
The Thrace style of song has largely influenced many of the northern regions, especially Dobrudja. This is because after independence in 1878, many people emmigrated to the north.
In Trakia monodic singing is characteristic, slow songs and many adornments. Women, preferably sing in an open and natural way. The melodies are beautiful, expressive and peaceful.
The most common meter is 2/4, plus plenty of songs without meters, with free rhythm.
Thraces songs are distinguished by their thematic richness: there are songs to gather the wheat, for meetings, for the meal table, rituals, dances on fire in Strndja, for weddings, for masquerades, epics.
The most characteristic instruments are the kaval, bagpipe, gadulka and tapan.
The kaval is an indispensable companion of peasants in Thrace, and influences the melodies of the songs. Many of the adornments in the slow songs are literally translated from the instrumental melodies. People say "sings as if kaval were playing."
Strandja belongs to this region, beginning in the Bay of Burgas and extending between the Black Sea and the Derventski hills to the Turkish village of Strandja. It has its own typical sound in the songs and dances. One of the most characteristic dances is "nestinari" which is to dance on fire. It is part of a ritual that purifies the mind, body and human spirit. Other typical games are Kukeri (with masks) or "Filek" (spring games of the young with small steps to the right, very typical in other games of the youth in Thrace and Dobrudja).
Northeast folklore Region Dobrudja
Dobrudja occupies the northeastern part of Bulgaria - the north is bounded by the Danube in the east - the Black Sea and west borders the northern folklore region. This region is characterized by its rich and varied folklore. This variety was produced when large groups of people migrated from Trakia and the regions of Stara Planina in the second half of the s. XIX.
In Dobrudja there are two styles - Thracian and Balkandjiiski that were gradually introduced into the deeper layers of the old traditions. Typical of this region are songs rich in adornments and without compass to sing while working in the fields collecting wheat, at the table or at social gatherings called "sedianki". These slow and expressive songs are sung both by women and men.
Monodic singing reigns except for singing in two voices, in some remote villages populated by immigrants from the region of Shopluka.
As for the modal characteristics of the songs, preference for the diatonic is notable some color modes are also used.
In Dobrudja there is a specific musical style with the gadulka, kaval and bagpipe instruments.
The dances have their own style which is characterized by good cheer and flexible movements of the body, arms and shoulders.
Folklore Region North West and Central
As well as in the region of Dobrudja folklore, popular music here is also a mixture of the folklore of other regions due to the migration of many people in different historical moments, the same as in the regions of Trakia and Dobrudja.
The mixture of the population produces the mixture of musical styles. However, with a closer study you can find some typical features of musical style such as pentatonic songs not typical of other regions that are sung at weddings or in the work in the fields.
In these regions there are a large number of irregular beats, although in number, binary melodies prevail. Bars 5, 7, 9, 11, 13 and 14 are easily found.
J и ■i.J'UT и i ¡i i J i J J i^a
gren-char ji gfto-tfi - re pío da - vi, i.i j.-ii - de jBdftsi, íini-tn. pi - ш ■ tsi.
J J^J Jj I j J J |J J J J7j i j J- j.J^dl
hii- jii - sieil-rsi. pa - lid ' (si. lo - le i ¡jo - ditt-i* - - iii - Ни - tsi
Also songs which are not metric and which have abundant adornment are found, usually with historical content.
The songs are monodic, except in some villages of the Northwest where there is singing in two voices, like those of the Central West region [4].
The songs are interpreted primarily with instrumental accompaniment of the duduk, kaval and bagpipe. The dances are varied and are characterized by the richness of mainly light movements.
By way of conclusion
Bulgarian folklore, besides its great variety and beauty, has the great privilege of having preserved its freshness to date. Bulgarian folklore is alive thanks to regional festivals and national meetings. There are over 60 organised every year. Most of the participants are not professional artists but people who enjoy taking part as amateurs. Children's participation is widespread and represents the link between the past, the present and the future.
An important factor that contributes to the rise of folk art in Bulgaria, which continues in present times, is its presence in nursery and primary schools. In education programs at these early stages, folklore is the raw material of musical lessons [2].
References
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8. Стоин, E. (1967) Енциклопедия на българската музикална култура. София.
9. Стоин, Е. (1969). Щузикално фолклорни диалекти в България. София: Българска музика.
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