Bulgarian Folc Music

Society for Ethnomusicology

Bulgarian Folk Music Research Author(s): Barbara Krader Source: Ethnomusicology, Vol. 13, No. 2 (May, 1969), pp. 248-266 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: http://www.jstor.org/stable/850148 Accessed: 11/12/2010 11:47 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=illinois. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

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BULGARIAN FOLK MUSIC RESEARCH Barbara Krader

his survey is based primarilyon two recent writingsin Bulgarian,which summarizevery well the work done almost to the present. These are listed first in the bibliography.The writer has filled in a few gaps, especially details of bibliography, and added some titles in Western languagesand some 1968 imprints. The bibliographyappended is selective, however.Whileseveral early articles by Makhan'(Machaihin the original Czech) are included for historical perspective, most of the writings of Ivan Kamburov,for example, are omitted, as he was primarilya popularizer.Also omitted are articles on such subjects as how to redesignfolk instrumentsfor orchestraluse, articles on the Kutev Professional Folk Ensemble, and so on. Extensive works on workers' songs and urban songs are present, as these are current subjects of research not only in Eastern Europe but also in the United States. Macedoniais not discussed. Throughout this article and the bibliography, the Library of Congress transliterationsystem is used for titles of books and articles. In the bibliography, those entries which are not confirmed are followed by n. The writer has visited the BulgarianAcademy's Institute of Music in 1960, met its Director, AcademicianPetko G. Stainov, and most of the leading folk music specialists there. Many have also attended conferences of the InternationalFolk Music Council, and we also met at a meeting of the Yugoslav Folklore Society in 1965. Bulgarianfolk music is highly attractiveto Westernears, as anyone who has access to the excellent record issued by the ColumbiaWorldLibrary(Columbia KL 5378, deleted), and the Topic record 12 T 107, will readily agree. Both these records were edited with notes by A. L. Lloyd. The music appeals to ethnomusicologists because of its complicated rhythms, unusual modes, numeroussongs with narrowambitus, and because of the special types of singing in seconds, sometimes called diaphony. The point of this survey is to demonstrate that these problems are being studied systematicallyand intelligently today by Bulgarianspecialists. As a very brief historical sketch, let it be said that the Bulgarswere a Turkic tribe, a small band of which crossed the Danube into the present area of Bulgariain 679 A.D. They conquered the far more numerous Slavs, who had migrated to the region somewhat earlier, but the Bulgarssoon adopted the Slavic tongue. The Bulgarianruler Boris I was converted to Christianityin 248

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865 A.D. An alphabet was adopted, called Cyrillic, after St. Cyril. There followed a period of independence, but with much strife with the Greeksof the Byzantine Empire. In the fourteenth century Bulgariawas invaded by the Turks, who conquered its final stronghold, Vidin, in 1396. After five hundred years under Turkish rule Bulgariawas liberatedin 1878 by the Russianarmy. Interest in the folksong begins to appear in Bulgariain the first half of the nineteenth century. It finds its expression first in the collecting of folksong texts, which begins in the 1830s. Among the early Bulgariancollectors were Neofit Rilski (1793?-1882), NaidenGerov (1821?-1900), Georgi Rakovski (1821-1867), and Petko R. Slaveikov (1828-1895), who were famous national leaders (educators, writers, and politicians) of their time. Some of the folksongs were published and some not, for books in Bulgarianhad to be published abroad, and few were interested or had money enough to issue anything but school texts. Among the folksong enthusiasts was young N. D. Katranov, who was Turgenev'smodel of the Bulgarianrevolutionaryin his novel On the Eve (1860). Publications of folksongs with text and melody appearedshortly after the Liberationof Bulgariain 1878. In 1884 losif Kalomatipublished a supplement of thirty-five urban songs and songs of the national awakeningalong with his textbook of singing. Kalomati, incidentally, was educated at Robert College, which was founded outside Constantinopleby Americanmissionaries in 1860. In 1886 Anastas Stoyanov from Shumen made the first successful notations of folksongs in asymmetric meters (in 5/8 and 7/8). Three years later, in the first volume of the great folklore serial Sbornik za Narodni Umotvoreniia,which is still continuing, its editor, Ivan D. Shishmanov,published a lead article called "The Importanceand Aims of our Ethnography" (Znachenieto i zadachite na nashata etnografiia, 1889, vol. 1, pp. 1-65). This is important here because he emphasizedthe need and importance of notating melodies as well as texts of folksongs. From 1890 on, that serial published melodies with texts, and in its pages were publishedthe first correct notations of songs in 9/8 meter, in 7/8 with the first beat extended (i.e., 3+2+2), and in 7/8 with the extended third beat (2+2+3). As the music of folksongs became availableit became possible to study its patterns. Karel Makhan'(1867-?), a Czech who lived in Bulgariafor many years, was among the first to try to characterizethe melodic and metrorhythmic structure of Bulgarianfolksong, to describe folk dances, and to discuss the originality of Bulgariantraditional music, comparingit with Turkish and other neighboringmusical styles. A new higher level of analysis is achieved by Dobri Khristov (1875-1941), an outstanding Bulgariancomposer and choral director as well as musicologist. His study "The Rhythmic Bases of our Folk Music"(1913) was an early landmark,followed by a book, The TechnicalStructureof Bulgarian

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Folk Music (1928). He worked out the basic rules of rhythm and meter in Bulgarianfolksong, and touched upon several other problems, including comparisons with Turkish music. According to Nikolai Kaufman,these two works serve as the basis for all the later studies of Bulgarianfolk music. In 1926 a Section of Folk Music opened within the EthnographicMuseum in Sofia. Vasil Stoin (1880-1939) was the director, and other members of the staff were Pavel Stefanov, Ivan Kamburov,and later, losif Cheshmedzhiev, Raina Katsarova,Konstantin Zagorov,and others. Under Stoin's direction and very active participationall of them began to collect and notate folksongs of all of Bulgaria.At that time the melodies were written down by ear, without the help of sound recordingapparatus.The first great collections soon began to be published, under Stoin's editorship, containingthousands of folksongs with text and melody: Folk Songs from the Timok River to the Vita (1927), Folk Songs from North CentralBulgaria(1931), Rhodope Folk Songs (1934), Folk Songs from Eastern and WesternThrace (1939). Stoin himself wrote down the melodies of some 12,000 folksongs. These collections still remainthe most important fund of Bulgarianfolksongs. They are the basis for all Bulgarianresearchin folk music, and Bulgarian composersuse them as well. Stoin was the author of various theoretical studies: Bulgarian Folk Music. Metrics and Rhythm (1927), "On BulgarianFolk Melodies" (1924), and Hypothese sur l'origine bulgarede la diaphonie (1925). In the first two he discussesthe metric peculiarityand variety of Bulgarianfolksongs. In the third he surveys Bulgarian two-part folksongs and develops the hypothesis that diaphony originated among the Bulgarians.The work of Vasil Stoin is distinguished in the fields of collection, publication and analysis, and his name has an honored place among the outstanding Eastern European ethnomusicologists. Several budding Bulgarian performers, musicologists, and composers studied abroad in the 1920s and 1930s and produced dissertationsand monographs on Bulgarianfolk music. These included Stoyan Dzhudzhev,whose important study (dissertation) Rythme et mesure dans la musique populaire bulgare (1931) was published in Paris. Others were Stoyan Brashovanov (1888-1956), who studied in Leipzig, Khristo Obreshkov(1907-1944), the violinist, who studied in Berne, Lyubomir Romanski (1912- ), the conductor, who studied in Berlin 1936-1938, Kosta Nikolov (1900- ), who studied in Leipzigand Berlin 1935-1942, and Vasil Spasov, who studied at the University of Vienna. About 1930 the first articles appearedby Stoyan Dzhudzhev(1902- ) and RainaKatsarova (1901- ) concerning Bulgarianfolk music. Katsarova, who is, with Dzhudzhev, the finest Bulgarianfolk music specialist of today, studied chiefly in Bulgaria,but worked for a time with von Hornbostel and

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Lachmannin Berlin, and has visited many European archives. She was a collaborator of Stoin's from 1928 and eventually succeeded him as director of the Folk Music Section in the EthnographicMuseum.After the Second World Warshe was head of the Folk MusicSection of the newly formed Institute of Music of the BulgarianAcademy from 1950-1966, when she was retired.Mme. Katsarova'scontacts abroadare vast. She was in correspondencewith Bartok,with Klyment Kvitka in the USSR, and Brailoiu, and was consulted by a host of foreign specialists after 1945 both in Bulgaria and at various conferences abroad. Her finest work, in my opinion, has been her section of the Rhodope folksong collection published in 1934, concerning the Pomaks, her study of the state of the Bulgarianepic song tradition (1939), and a long study of three generationsof women folk singers(grandmother,mother, and daughter), published in 1952. After 1950 she was assigned the field of Bulgarianfolk dance, and has several important publications on this subject. She has collected some 10,000 Bulgarianfolksongs and about 1,000 dances. All her writings are based on field work, a knowledge of the folk tradition all over Bulgaria, and a phenomenal memory for music, dance, customs, as well as for the place where a song has been published. Professor Stoyan Dzhudzhev has taught at the State Musical Academy (now the Bulgarian State Conservatory)since 1931, as full professor since 1944. Since 1954 he has been chairmanof the musicology department,which includes courses in ethnomusicology, the history of music, musical acoustics, and musical pedagogy. A man of outstanding cultivation, with many years of study at the Sorbonne, Dzhudzhev is inclined to theoretical studies, in particularto the links between Bulgarianfolk music and the music of ancient Greece. He pays strict attention to texts and music, to problems of versification and verbal stress. In his book of 1931, for example, the first long section, nearly one third of the book, concerns the texts and versification. Dzhudzhev has also contributed an impressivebook on Bulgarianfolk dance (1945), which is intended in part as a reference book on the dance in general,but also analyzes some forty Bulgarianfolk dances. His major work is doubtless his Theory of BulgarianFolk Music (1954-1961), in four volumes. A recent article (1961) read at an international conference in Warsawshows his abiding interest in ancient Greek metrics. He has been readingbooks on Indiantraditionalmusic in recent years, and, like Katsarovaand other Balkan music specialists, looks forward to the time when it will be possible to study the links between the Balkans and the Middle East and India. September 9, 1944 is the day now marked in Bulgariaas the beginning of the postwar era. That day found Bulgarianfolk music researchat a halt. Dobri Khristov and Vasil Stoin, the leading specialists,were dead. The collecting and publishing of folksongs had stopped. Graduallyactivity was resumed.

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In 1948 the Institute of Music was established in the BulgarianAcademy of Sciences. From 1950 the old Folk Music Section of the EthnographicMuseum was transferredto the Institute of Music to its MuzikalnofolklornaSektsiia. Various staff memberswere transferredwith Katsarovaand some new younger specialistswere appointed. From 1948 to 1954 most of the songs collected were recorded on discs; thereafter recordings were made on magnetic tape. In fact, sound recording apparatus was obtained just before the War,in 1938. Katsarovahas written that Bartok took great interest in trying to help Stoin and Katsarovaacquirea recordingmachine, and even sent them a copy of a Southern Folklore Quarterly for 1937 so that they could read John Lomax' article on machine recording in the field. When they received the equipment, Bartok wrote a letter with practical advice for field work based on his experience (Katsarova,R. "Spomeni za Bela Bartok" (Recollections of Bartok),B(ilgarskaMuzika 1961, No. 3, pp. 12-15), but I have found no indication of actual recording with that equipment, nor any further details about it. The Archive of the Institute of Musichas been acquiringmany old manuscript collections of folksongs, mainly from other institutes. The Folk Music Section's staff has been travelingthrough the country systematically, collecting literally thousands of songs. Each member of the staff spends an average of two months a year in the field. Expeditions are organized from time to time in which several take part from varioussubsections: choreographers,folk instrument specialists, folksong specialists, or those working on folk customs associated with music. Advantage is being taken too of a newly organized postwar custom of folk festivals in the various folksong regions. These are very useful to field workersin search of the best carriersof the tradition. Before the war collecting was concentrated in North Bulgaria,in the Rhodope mountains,and among the refugees from Southern Thrace,either because the songs in those areas were about to disappearor because they were of special interest. Since 1950 intensive collecting and study of the Pirin region has been made. It is hoped that this researchwill shed light on two-partsinging, as well as on problems of rhythm and meter in the folksongs. The Rhodope region has also been worked on systematically(now using recordingmachines),as has part of the Shopi area in the northwest, and Srednogorie. In the east, Dobrudjahas been studied, as well as many regions of Thrace and the plains south of the Balkanmountain range. By 1966 the Archive of the Institute had over 100,000 songs and instrumental melodies, counting those in manuscript form, collected by ear, and also those on discs and tape. Elena Stoin and Kaufmanstate that it is already feasible to work on a basic atlas of Bulgarianfolksong. One hopes this project is already under way. They also report that the archive is in the process of


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classifying and indexing this vast material,but this is by no means completed. Now that mechanicalrecordingis in generaluse (one does not know just what proportion of the music collection is recorded), the Bulgariansare carrying out special studies of melodic ornamentationin the folksongs, hoping to establish more precisely the rules of certain rhythms and meters. They also plan to study the links between text and melody in closer detail, as well as the way syllables are divided. The old problem of non-temperedmelodic intervals is another subject which can now be studied scientifically. Collections The prewar tradition of publishinglarge collections of folksongs is being continued by the Institute. The first two bulky volumes to appearwere Folk Songs of the WesternBorderlands (1959), collected by V. Stoin before the war and edited for publication by R. Katsarova,and Folk Songs from Northeast Bulgaria, Vol. I (1963), compiled by R. Katsarova,Ivan Kachulev, and Elena Stoin. Both collections have meticulously preparedscholarly indexes of meter, tonal ambitus, structures of metric groups, and a subject index of the song texts. None of the collections has an index of first lines of text, but the subject index is better than the lack of any text index in the prewarvolumes. Another large volume has just been published: Folk Songs from Southwest Bulgaria. Vol. I, Pirin Region (1968), compiled by Nikolai Kaufman and Todor Todorov. In preparationare Folk Songs from the Samokov District and Folk Songs from Northeast Bulgaria,Vol. II. In addition to the big collections the Institute has issued smaller ones on specific themes, such as Folk Songs about Russia and the Soviet Union (1953), compiled by Ivan Kachulev,and BulgarianContemporaryFolk Songs (1958), compiled by Elena Stoin and Kachulev. These have been used quite extensively by Bulgarianchoral groups and others. Urban folksongs and those of the labor movement were neglected before the war and are, of course, now being studied intensively, particularly by Kaufmanin the Institute. He compiled a large collection, Songs of the Bulgarian Labor Movement 1891-1944 (1959), which is furnished with much information on sources, dates and occasions of first performances,and variantsin other countries. I find it a very interesting contribution to social history. Another collection made by him, BulgarianUrbanSongs, appearedin 1968. InterdisciplinaryExpeditions Within the BulgarianAcademy of Sciences, the Division for Fine Arts, Music and Architecture has organized several expeditions to specific regions, including specialists from the Academy's researchinstitutes in each of these

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fields. They worked in the Rhodopes in 1953, in Dobrudjain 1954, in Strandzha in 1955, in the northwesterncorner of Bulgariain 1956, and in 1957 and 1958 they studied western Bulgaria in the regions of Triin, Breznik, and Kyustendil. Five volumes were published containing accounts of the present state of music, architecture,and variousaspects of the fine arts in the various regions. (These are listed in the bibliography, with the relevant articles described under each volume.) Regional Studies Among the regions best studied so far is the Rhodope mountain area, which has its own characteristicfolk music for the area in spite of the religious division of the population. It is in this region that the so-called Pomaks live, a group of Bulgarianswho were converted to Islam under the Turkish rule. They were ostracizedby other Bulgariansuntil very recently; indeed prejudice still exists againstthem. They preservea very pure Bulgarianspeech, and their folksongs appear to be very archaic due to their centuries of isolation. The musical studies published so far do not exhaust the possibilities, but do constitute a solid contribution to the task of defining the Rhodope folksong style. The studies include Kaufman'slengthy "Folk Songs from the Smolian and Madan Areas" (1961), his "Songs of the BulgarianMoslems"(1962), as well as his "Ritual Songs of the BulgarianMoslems"(1963). His major finding is that in meter, rhythm, melody and ornamentation,structure,language,and versification, the music of the Rhodope Bulgarians,Christians,and Moslems has a common origin, the same esthetic goals, and the same use in everyday life. Kaufman's most recent general study is "The Folk Music of the Pirin Region" (1965), which includes eighty music examples, nearly all of folk polyphony. A study by Todor Todorov, "Some Melodic Features of the Rhodope Folk Song" (1962), attempts to characterizethe Rhodope melodic style and show how it differs from the songs of other parts of Bulgaria.Todorov has also published an article entitled "The Song Variants in the Rhodopes" (1962). Further, Khristov Vakarelskihas publisheda study, "The Languageof the Rhodope Songs" (1962), based on work with materials collected by the Institute. This is an investigation of the language used in the songs collected 1955-1960, at a time of rapid industrializationand change. Concerning West CentralBulgaria, A. Ilieva has written "Folk Music Research in the Svogen Region" (1964), describingthe present state and characterizingthe folksong in that outlying section of the Sofia district. On the Srednegorie (Central Mountain)area, we have one study of the central part, Elena Stoin's "Folk Songs of Srednegorie (The True Central


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Mountains)"(1964). The area includes the towns of Koprivshtitsaand Zlatitsa. It is bordered on the east by the river Stryama and on the west by the Gillbets mountain peak. The southern edge is about five miles north of Pazardzhik. In this article are general observations on rhythm and meter, structure, melodic features and scales, as well as more detailed study of specific genres of Central Mountain songs, and the links between text and music shown in variousrhythmic, metric, and structuralcombinations. Studies of Specific Villages and Performers In Raina Katsarova'sstudy, "Three Generationsof WomenFolk Singers (1952), she traces the process of formation of folksongs, their oral transmission from one generationto the next, and their place in the life of the people. Stoyan Dzhudzhev's article, "Elena V. Yankova and the Songs of the Bessarabian Bulgarians"(1952), is a study of a song collection made some forty years earlierby Dobri Khristovand G. Yankov, publishedin 1913. Especially interesting to the ethnomusicologistare two articles by Khristov Vakarelski (1896- ), of the BulgarianEthnographicMuseum. In "The Music in the Life of my Native Village, MominaKlisura,PazardzhikDistrict" (1952), he gives details of whistling to sheep or oxen or coaxing the dog to come, and describes the children's homemade instruments as well as their songs. In "Notes on the Musical Theory and Esthetics of the People" (1959), Vakarelski quotes statements of peasants and references in folksongs to attitudes and value judgments concerningmusic. ContemporaryFolk Music A study of the new folksong by Elena Stoin, "The ContemporaryBulgarian Folk Song" (1952), investigates how it resembles the old traditional song and how it differs. She also discussesthe definition of folksong, favoring its extension to include urban songs and composed mass songs, and recalls the fact that folk music is always in the process of development-so that a song may be collected which is not very pleasingesthetically, but it may evolve and improve afterwards. Folk Polyphony Reference was made earlier to Vasil Stoin's pamphlet on Bulgarian diaphony, published in 1925. With recording machines work was quickly intensified in this area. The researchin the Pirin area and West CentralBulgaria, where part singing, especially in seconds, is very common, have made possible some extensive analyses. One is Nikolai Kaufman's"Folk Singingin Two Parts

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in Bulgaria"(1958). A longer study is his "Three-PartFolk Singingfrom the CastoriaRegion" (1959). This concerns Slav-speakingemigrantsfrom the district of Castoria,in western Greek Macedonia,who now live in Bulgaria.According to Kaufmanthe three part singing of this region has the same origin and development as Bulgarianfolk singing in two parts. We will add here an article by Kaufman, "Polyphony in the Folk Song of the Balkan Peoples" (1966), which is a most interestingattempt to locate the areasin which polyphony is found and to compare the musical styles. Certain features of two-part singing in specific areas of the large twopart region are also discussedby Elena Stoin in her article on Srednogorieand by Ilieva in her study of the Svogen region of West CentralBulgaria.There is of course much data also in Kaufman'ssummarizingaccount of the Pirin region (1965). Folksongsamong BulgariansAbroad Various studies have been made of the songs of Bulgariansin Bessarabia, of settlements in northeast Bulgariawhere there are Bulgarianemigrantsfrom Northern Dobrudja (now in Rumania), of refugees from Aegean Thrace (in Greece), and of Bulgarianswho have returned to Bulgariafrom Asia Minor from a settlement there which lasted three hundredyears. All these show the stability of the folk music tradition throughout a period of isolation, and its importance to the people. Among these studies are Dzhudzhev's "Elena Yankova and the Songs of the BessarabianBulgarians"(1952), and Kaufman's "The Songs of the Bulgariansof Asia Minor" (1963). Another is Stoyan Petrov's "The Folk Song of the Banat Bulgarians"(1965). An interesting study of a minority in Bulgariais Kaufman's"The Folk Musicof the Spanish(Sephardic)Jews in Bulgaria"(1967). HistorialData on Folk Music Withoutembarkingon a survey of the many writingsattempting to trace the earliest known Bulgarianmusic, religious and secular, we will mention only two articles touching folk music alone, and solely from the recent past. These are "Folk MusicMaterialof the Plovdiv Exposition of 1892" (1955) by Khristo Vakarelskiand A. Primovski,and A. Motsev'sstudy, "Meterswith Extended Beats in the Transcriptionsof BulgarianFolklorists"(1955). Folk MusicalInstruments A few brief articles were written before 1945 by Vasil Stoin and Katsarova,but the major contribution in the field has been made since World


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War II by Ivan Kachulev (1905- ). As the folk instrument specialist in the Institute of Music, he has written an article on tamburasin the Razlog district (1957), a study of the Bulgariangadulkas (1958), part of which appearedin English translation, a survey of folk instrumentsin Dobrudja(1956), and a survey of instrumentsin the districts of WesternBulgaria,Trin and Kyustendil (1961). He has also published studies of bell making in the town of Gotse Delchev (1956) and flute making in the village of Shipka. Quite recently he published an article on folk instruments and instrumentalmusic of the Bulgarian Moslems in the Rhodope mountains (1962), and one on two-part wind instruments: the bagpipesand the dvoyanka (1964). A useful survey article by Kachulev on Bulgarianfolk instruments appears in the Encyclopedia of Bulgarian Music Culture on pages 4448, with many illustrations,and another survey by him, organized somewhat differently, appearedin Yugoslavia(but in Bulgarian)in 1964. Folk Dance This is a fascinating field of researchas there is a wide variety of Bulgarian dances and numerous complex meters and rhythms. The serious study of this subject can be said to have started with Professor Dzhudzhev'stheoretic work BulgarianFolk Choreography(1945). In fact he devoted three chapters of his book of 1931 to the analysis of folk dance rhythms. Raina Katsarova'sbook The BulgarianFolk Dance (1955) employs a different approach to the subject, stressing the customs associated with the dances and viewing them as a social or community phenomenon. A small popular book by Katsarovaon Bulgarianfolk dances was publishedin London in 1951, and her book mentioned above has been publishedin Englishin Sofia, distributed by the Committee for Friendshipand CulturalRelations with Foreign Countries. Several other studies of dances in specific regions have been written by her. In general, the folk dance subsection in the Institute of Music has worked on folk dance practices in certain clusters of villages, e.g., the village of Khlevene in Lovech district, and the village of Pudarevoin the Sliven district. The interdisciplinaryexpeditions enabled them to survey larger regions too. They have also studied the distribution of certain individual dances all over Bulgaria, noting the variants, the various names, and the parallels in neighboringcountries. Attention has also been paid to folk customs which are associated with folk dances and song. Elena Stoin's article on the Lazaruscustoms (1956) is in this field, as is Katsarova'sstudy of the carnivalkukeri rites and dances in Puderevo (1963). Much material has been collected on wedding customs, St. John's Day (En'ovden, 24 June), peperuda (songs and dances to bring rain),

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children'sgames with songs, and so forth. The Bulgarianfolk puppet theater (kuklen teatir) is usually associated with folk dance music, and this too has been investigated by the Folk Music Section. One of Katsarova'sarticles on this subject was publishedin 1963, and another in 1968. Labanotationhas not been generally adopted in Bulgaria,and there are various systems of dance transcriptionin use. These are described in the Encyclopedia of BulgarianMusical Culture,on pages 68-72. There has, however, been some agreement on dance terminology, and a book on terminology by K. Dzhenev and others, published in 1955, has received wide approval.The book includes a detailed descriptionof 30 Bulgarian folk dances. *

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The Institute of Music has not only issued twelve volumes of the Izvestiia, from 1952, but has also published three monographs.The first was Aleksandir Motsev's Rhythm and Meter of Bulgarian Folk Music (1949), which criticizes the previous Bulgarianwritings on the subject and offers a new theory of Bulgarianasymmetric meters. The conclusions of this book have not found general acceptance. In part, this is because so much recording is now being done, and new rhythmic combinations are turningup which are still being studied. The second important work is A. Karastoianov'sThe Melodic and Harmonic Foundations of the BulgarianFolk Song (1950). This book has been much more influential among the Bulgarianspecialists, many of whom have adopted his terminology and a large number of his conclusions. Another work by the late AleksandurMotsev (1900-1964) was published the Institute in 1961: Ornamentsin BulgarianFolk Music. In it he atby tempts to show the evolution of melody and ornamentation over the centuries. This is a thorny subject, and one feels that Motsevis perhapstoo absolute in his assertions. Nevertheless the book is thought-provokingand well worth readingeven if one finishes by disagreeingwith the author. Dzhudzhev's impressive four volume Theory of BulgarianFolk Music was not issued by the Institute but by the regularpublishing firm "Nauka i Izkustvo." Obviously intended for students, it is neverthelessuseful to other specialists. It contains frequent citations from foreign literature, some of it Western.In the fourth volume the author cites the working definition of folk music proposed by the International Folk Music Council in 1954, and disagrees with it vigorously. Apparently he was unaware that dissenting views were advanced within the IFMC as well, notably by Charles Seeger. The fourth volume by Dzhudzhev is probably the most interesting to us. Written


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by a scholar who has devoted his life to one very complex music, he discusses here how one should approach the study of ethnomusicology and folk music (clearly differentiatingthe two in terms of subject of study). There is a detailed discussion of Motsev's book and the first volume of Dzhduzhev'sbook (on rhythm and meter) in Katsarova'ssurvey of work since 1945 (1960). Of the younger generation of Bulgarianfolk music specialists we may single out Elena Stoin (1915- ) and Nikolai Kaufman(1925- ) for special mention. Elena Stoin is the daughter of the great collector of the 1920s and 1930s. She has collected over 5000 melodies in the field since the Second World War and has edited several folksong collections and a number of important studies. I consider her article on LazarusDay customs (1956), along with her recent one on the folksongs of part of the Srednogorie region (1964), an outstandingwork. Nikolai Kaufman has recently become the head of the Folk Music Section in the Institute of Music. He is energetic and productive, as his list of publications shows. The Pirin region has been the chief focus of his field work, but he has also collected urban songs, new peasant songs, and revolutionary songs, and issued collections and studies on a wide variety of subjects. I find most provocative his early analysis of two-part singing (1958) and the recent article on polyphonic folk singing in the Balkans (1966). His training has been wholly in Bulgaria,and he has had no contact with Westernethnomusicology whatsoever, so far as I know. His knowledge of Germanmay provide the bridge to wider contact in the future. (Many of his shorter articles have been omitted from the bibliography.) Stoyan Petrov (1915- ), whose interests lie chiefly in Bulgarian-Russian musical relations, and who studied at the Moscow Conservatory1949-1953, has published a history of Bulgarianmusic (1959) which was in fact the subject of his dissertationin Moscow. He has had various administrativeposts in the Union of BulgarianComposers, and is now teaching the history of Bulgarian music and of Russian and Soviet music at the BulgarianState Conservatory. His study of the Bulgarian folk music in the Banat area (part of Hungary1770-1920, now mostly within Rumania)was published in 1965. Among the youngest folk music specialists in Bulgariais Todor Dzhidzhev. The author of an excellent study on the rhythmic structureof the verse (or line) of Bulgarianfolksongs (1964), and of a short discussion of research on the problem of interrelation between text and melody in Bulgarianfolk songs (1967), he shows promise as a careful and logical thinker, working successfully upon a problem of exceptional complexity.

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BIBLIOGRAPHICAL REFERENCES Abbreviations IIM INEM SbNU

Izvestiia na Instituta za Muzika. Sofia, 1952Izvestiia na Narodniia Etnografski Muzei v Sofiia. Sofia, 1920-1943? Sbornik za narodni umotvoreniia. Sofia, 1889-

Surveys Usedfor ThisArticle Stoin, Elena and Nikolai Kaufman, "Novi prinosi v subiraneto i izsledvaneto na bulgarskata narodna pesen" [New contributions in collecting of and research on Bulgarian folksong], IIM 12:23-27, 1967. "Bulgarska muzikalna nauka i kritika: muzikalna folkloristika" [Bulgarian musicology and criticism, [part I]: Folk music research] in Entsiklopediia na bulgarskata muzikalna kultura (Sofia: Izdatelstvo na Bulgarskata Akademiia na Naukite, 1967), pp. 116-18. By Nikolai Kaufman.

OtherBasic Surveysand Bibliographies "BMlgarska narodna muzika" [Bulgarian folk music] in Entsiklopediia na bulgarskata muzikalna kultura (Sofia, 1967), pp. 9-74. By various authors. Illustrations and bibliographies. "Folk music: Bulgaria," in Grove's Dictionary of Music and Musicians. 5th ed. (London, 1954), vol. 3, pp. 201-11. By Raina Katsarova. Katsarova-Kukudova, Raina, "L'Ethnomusicologie en Bulgarie de 1945 a nosjours," Acta Musicologica (Basel) 32:77-89, 1960. Katsarova, Raina, "Bulgaria," in Karel Vetterl, ed. A Select Bibliography of European Folk Music, (Prague, 1966), pp. 23-29. Published in cooperation with the International Folk Music Council. Katsarova, Raina, "Bulgarie," in Folklore musical (Paris: Institut International de Cooperation Intellectuelle, 1939), pp. 28-34. Survey of collectors, collections, with brief bibliography.

CurrentBibliography Elschek, Oskar, E. Stockmann and Ivan Macak, eds. Annual Bibliography of European Ethnomusicology, 1966- . Bratislava, 1967- . Published in cooperation with the International Folk Music Council.

Chief Collectionsof BulgarianFolk Melodies Stoin, Vasil, comp. Narodni pesni ot Timok do Vita [Folksongs from the Timok River to the Vita]. Sofia, 1928. 1134 pp. 4076 melodies. Stoin, Vasil, comp. Narodni pesni ot Sredna Sevema Builgariia [Folksongs from the Central Part of North Bulgaria]. Sofia, 1931. 893 pp. 2718 melodies. Bukureshtliev, Angel, Vasil Stoin and Raina Katsarova, comps. "Rodopski narodni pesni" [Rhodope folksongs], Sbornik za narodni umotvoreniia 39. Sofia, 1934. 582 pp. 1252 melodies. Stoin, Vasil, comp. Narodni pesni ot Iztochna i Zapadna Trakiia [Folksongs from Eastern and Western Thrace]. Sofia, 1939. 622 pp. 1684 melodies. Kachulev, Ivan, comp. B?ulgarskinarodni pesni za Rusiia u Syuretskiia Sfuiuz [Bulgarian folksongs about Russia and the Soviet Union] Sofia, 1953. 153 pp. Stoin, Elena and Ivan Kachulev, comps. Biilgarski sfuvremenni narodni pesni [Bulgarian contemporary folksongs]. Sofia, 1958. 237 pp. 44 melodies. Stoin, Vasil, comp. Narodni pesni ot Zapadnite pokraTnini [Folksongs from the Western border regions]. Sofia, 1959. xxii, 360 pp. 656 melodies. Edited by R. Katsarova.

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Kaufman, Nikolai, comp. Pesni na bulgarskoto rabotnichesko dvizhenie 1891-1944 [Songs of the Bulgarian workers' movement 1891-1944]. Sofia, 1959. 593 pp. 456 melodies. Katsarova, Raina, Ivan Kachulev and Elena Stoin, eds. Narodni pesni ot Severoiztochna Bulgariia [Folksongs from Northeast Bulgaria]. Tom I. Sofia, 1963. 724 pp. 1288 melodies. Compiled in 1928-1930 by Vasil Stoin and others. Bvulgarsko narodno tvorchestvo [Bulgarian folk creation]. Vol. 13. Narodni pesni s melodii [Folksongs with melodies]. Edited by R. Katsarova, E. Stoin, N. Kaufman, et al. Sofia, 1965. 658 pp. 731 melodies. Introductory survey by R. Katsarova in Bulgarian, Russian, and English (pp. 45-62). Loose inserted errata sheet must be consulted for the many misprints in this article. Kaufman, Nikolai and Todor Todorov, comps. Narodni pesni ot IUgozapadna Bulgariia. Tom 1. Pirinski krai [Folksongs from southwest Bulgaria. I. Pirin region]. Sofia, 1968. 956 pp. Kaufman, Nikolai, comp. Bulgarski gradski pesni [Bulgarian urban songs]. Sofia, 1968. 575 pp.

InterdisciplinaryExpeditions Kompleksna nauchna rodopska ekspeditsiia prez 1953 godina; dokladi i materiali [The Rhodope Complex Scientific Expedition in 1953; reports and materials]. Sofia: Izdanie na Bilgarska Akademiia na Naukite, 1955. Ivan Kachulev, "Sustoianie na narodnata muzika v Rodopite" [The state of folk music in the Rhodopes], pp. 199-220. Kompleksna nauchna dobrudzhanska ekspeditsiia prez 1954 godina; dokladi i materiali [The Dobrudja Complex Scientific Expedition in 1954; reports and materials]. Sofia: Izdanie na BAN, 1956. R. Katsarova, "Dneshnoto sustoianie na narodnata pesen i tantsoviia folklor v Dobrudzha" [The present state of the folksong and dance folklore in Dobrudja], pp. 139-62. Ivan Kachulev, "Narodni instrumenti v Dobrudzha" [Folk instruments in Dobrudja], pp. 163-75. Kompleksna nauchna Strandzhanska ekspeditsiia prez 1955 godina; dokladi i materiali [The Strandzha Complex Scientific Expedition in 1955; reports and materials]. Sofia: Izdanie na BAN, 1957. Elena Stoin, "Narodnite pesni na Strandzhanskiia krai" [Folksongs of the Strandzha Region], pp. 425-41. R. Katsarova, "Narodni khorai i igri v Strandzha" [Folk dances and theatrical customs with dances in Strandzha], pp. 359-423. Kompleksna nauchna ekspeditsiia v Severozapadna Bulgariia prez 1956 godina; dokladi i materiali [The Complex Scientific Expedition to Northwest Bulgaria in 1956; reports and materials]. Sofia: Izdanie na BAN, 1958. Elena Stoin, "Dneshnoto sustoianie na narodnata muzika v Severozapadna Bulgariia" [The present state of the folk music in Northwest Bulgaria], pp. 365-85. R. Katsarova, "Khora i igri ot Severozapadna Bulgariia" [Dances and theatrical customs with dances from Northwest Bulgaria], pp. 293-364. Kompleksni nauchni ekspeditsii v Zapadna Bulgariia Trinsko-Breznishko-Kiustendilsko prez 1957 i 1958 godina; dokladi i materiali [Complex Scientific Expeditions to Western Bulgaria (Trun, Breznik and Kiustendil Regions) in 1957 and 1958; reports and materials]. Sofia: Izdatelstvo na BAN, 1961. Ivan Kachulev, "Narodni muzikalni instrumenti v Zapadna Bulgariia-Trunsko i Kiustendil" [Folk musical instruments in Western Bulgaria, in the Trun Region and Kiustendil], pp. 419-46. Elena Stoin, "Narodnata pesen v Trunsko i Kiustendilsko" [The folksong in the Trun and Kiustendil Regions], pp. 447-82. T. Kiuchukov, "Trinskite narodni tantsi" [Trun folk dances], pp. 483-509.

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Books and Articles Brashovanov, Stoian 1923 Uber die Rhytmik und Metrik des bulgarischen Volksliedes. Leipzig. Ph.D. dissertation. (n) 1955 "Vasil Stoin," IIM 2/3:351-56. Dinev, Petur 1959 "Narodnopesenni elementi v bfulgarskiia tsfurkoven napev" [Folksong elements in the Bulgarian Church chant], IIM 6:39-59. Dzhenev, K. 1955 Terminologiia na narodnite khora [Terminology of the folk dances]. Sofia. With T. Kiuchukov, K. Kharalampiev, N. Zakhariev. (n) Dzhidzhev, Todor narodni pesni" 1964 "Kfum vYuprosaza stikhovo-ritmichniia stroezh na b%ulgarskite [On the question of the poetic-rhythmic structure of the Bulgarian folksongs], IIM 10:217-75. 1967 "Problemfut za vzaimovr'uzkata mezhdu tekst i melodiia pri narodnite pesni v nashata muzikalnofolklorna nauka" [The problem of the interinfluence between text and melody in folksongs in our folk music research], IIM 12:35-38. Dzhudzhev (Djoudjeff), Stoian 1931 Rythme et mesure dans la musique populaire bulgare. Paris. ii, 364 pp. 1945 Builgarska narodna khoreografiia [Bulgarian folk choreography]. Sofia. 461 PP. 1952 "Elena lAnkova i pesnite na besarabskite bfulgari" [Elena Yankova and the songs of the Bessarabian Bulgarians], IIM 1:149-66. 1954-1961 Teoriia na bfulgarskatanarodna muzika [Theory of Bulgarian folk music], vol. I: Ritmika i metrika [rhythm and metrics]. Sofia, 1954. 400 pp.; vol. II: Melodika [Melody]. Sofia, 1955. 359 pp.; vol. III: Morfologiia i prozodiia [Morphology and prosody]. Sofia, 1956. 378 pp. (n); vol. IV: Obshti vYuprosi na muzikalnata etnografiia [General problems of musical ethnography]. Sofia 1961. 431 pp. 1961 "Vestiges de la metrique ancienne dans le folklore bulgare" in Poetics (Warsaw: Polska Akademia Nauk. Instytut BadaniLiterackich), pp. 537-58. 1963 "Narodnata muzika kato obshtestveno iavlenie" [Folk music as a social phenomenon], Rad IX. Kongresa Saveza Folklorista Jugoslavije u Mostaru i Trebinju 1962. Sarajevo. Pp. 489-98. 1967 "Esquisse d'une mdthode musicologique pour l'etude des vers populaires," in To honor Roman Jakobson (The Hague), vol. I, pp. 52340. (Janua Linguarum, Seria Major, vol. 31.) Ilieva-Shturbanova, A. 1964 "Muzikalno-folklorni prouchvaniia v Svogensko" [Folk music investigations in the district of Svogen], IIM 10:165-216. Kachulev, Ivan 1952 "Bfulgarski narodni muzikalni instrumenti. Tamburite v Razlozhko" [Bulgarian folk music instruments. The tamburas in the district of Razlog], IIM 1:97-124. 1955 "Svirkarstvoto v selo Shipka" [Folk instrument makers in the village of Shipka], IIM 2/3:21548. 1955 "Zviuncharstvoto v grad Gotse Delchev" [Bell making in the town of Gotse Delchev], IIM 2/3:249-68. 1959 "Gludulkite v B?ulgariia"[Gadulkas in Bulgaria], IIM 5:131-93.

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1962 "Narodnite instrumenti i instrumentalnata muzika na builgarite mokhamedani v Rodopite" [Folk instruments and instrumental music of the Bulgarian Moslems in the Rhodopes], IIM 8:197-234. 1963 "Gadulkas in Bulgaria," The Galpin Society Journal 16:95-107. Partial translation of 1959 article. instrumenti" narodni muzikalni 1964 "Bulgarski [Bulgarian folk music instruments], in Rad VII-og Kongresa Saveza Folklorista Jugoslavije u Ohridu 1960. godine. Ohrid. Pp. 319-35. 1965 "B'ulgarski dukhovi dvuglasni narodni muzikalni instrumenti. Gaidi i dvoianki" [Bulgarian two-voice folk wind instruments. Bagpipes and dvoyankas], IIM 11:23-78. 1967 "Nauchni prinosi v oblastta na narodnite instrumenti i narodnata instrumentalna muzika" [Survey of scholarly works in the field of folk instruments and folk instrumental music], IIM 12:27-34. Kamburov, Ivan 1925 "Slishtnost', znachenie i zapisvane na nashiia muzikalen folklor" [The essence, the significance and the collection of our folk music], INEM, pp. 96-107. 1929 "Nashite narodni napevi i teoriiata na Riman" [Our folk melodies and the theories of Riemann], Uchilishten Pregled 38:184-98. (n) Karastoianov, Asen 1950 Melodichni i harmonichni osnovi na blulgarskatanarodna pesen [The melodic and harmonic bases of the Bulgarian folksong]. (Part I). Sofia. 150 pp. Katsarova-Kukudova, Raina D. 1936 "Gaidite na edin shumenski maistor" [The bagpipes made by a craftsman in Shumen], INEM 12:89-110. 1936 "KopriKki gajdi i gajdari" [Koprivshtitsa bagpipes and bagpipe players], Vjesnik Etnografskog Muzeja u Zagrebu, bk. 3, pp. 14-21. 1939 "Dneshnoto syustoianie na epichniia rechitativ v Bulgariia" [The present state of the epic recitatif in Bulgaria], INEM 13:189-99. 1943 "UgYurchinska pentatonika" [The pentatonic scale of the village of Ugurchin], INEM 14:78-93. 1951 Dances of Bulgaria. London: Max Parrish. 40 pp. 1952 "Tri pokoleniia narodni pevitsi" [Three generations of women folk singers], IIM 1:43-96. 1955 Bilgarski tantsov folklor [Bulgarian dance folklore]. Sofia. 116 pp. (n) 1955 "Narodni khora v selo Khlevene" [Folk dances in the village of Khlevene], IIM 2/3:3-188. 1956 "Verbreitung und Varianten eines bulgarischen Volkstanzes" in Studia Memoriae Belae Bartok Sacra (Budapest), pp. 69-87. 1957 "Razprostranenie i varianti na edin bulgarski tants" [Distribution and variants of one Bulgarian dance], IIM 4:89-122. Fuller version of 1956 entry. 1958 Bulgarian folk dances. Sofia. 167 pp. With K. Dzhenev. 1963 "Naroden kuklen teatYur:kukli ot k"urpi" [Folk puppet theater: Puppets made from cloths], Izvestiia na Etnografskiia Institut i MuzeT 6:409-24, illus., music. 1963 "Phenomenes polyphoniques dans la musique populaire bulgare," in (Zoltano Kodaly Octogenario Sacra.) Studia Musicologica Academiae Scientiarum Hungaricae, III (Budapest), pp. 161-72. 1963 "Pudarevski kukeri" [The kukeri from Pudarevo], in Rad IX. Kongresa Saveza Folklorista Jugoslavije u Mostaru i Trebinju 1962. Sarajevo, pp. 499-508. The kukeri ritual carnival dances in the village of Pudarevo, Sliven district.

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KRADER: BULGARIAN FOLK MUSIC RESEARCH 1965 "La classification des melodies populaires en Bulgarie," Journal of the International Folk Music Council 18(2):293-99. Also Studia Musicologica, VII (Budapest). 1967 "Nauchni prinosi v narodnata ni khoreografiia i obichai" [Scholarly contributions to the study of our folk choreography and customs], IIM 12:15-22. 1968 "Naroden kuklen teatfur: kukli ot rasteniia" [Folk puppet theater: Puppets made from plants], in Rad XII. Kongresa Saveza Folklorista Jugoslavije. Celje 1965. Ljubljana. Pp. 395-410, illus., music.

Kaufman, Nikolai 1958 "Dvuglasnoto narodno peene v Builgariia" [Folk singing in two parts in Bulgaria], Spisanie na Bulgarskata Akademiia na Naukite 1958, no. 4, pp. 45-58. 1959 "Triglasnite narodni pesni ot Kostursko" [Three part folksongs from the Castoria region], IIM 6:65-158. 1961 "Narodnite pesni ot Smoliansko i Madansko," IIM 7:79-158. 1961 "Evreiskiiat muzikalen instrument 'shofar' v bogosluzhebnata praktika na bYulgarskiteevrei" [The Hebrew musical instrument "shofar" in the religious service of the Bulgarian Jews], IIM 7:253-59. 1962 "Pesnite na blulgarite mokhamedani" [Songs of the Bulgarian Moslems], IIM 8:13-112. 1963 "Obrednite pesni na bulgarite mokhamedani" [The ritual songs of the Bulgarian Moslems], IIM 9:5-72. 1963 "Pesni na balramsko khoro, izpulniavani ot bfulgarite mokhamedani" [Songs with the Bairam dance performed by the Bulgarian Moslems], Izvestiia na Etnografskiia Institut i MuzeY, 6:393-407. 1963 "Pesnite na maloaziiskite b[ulgari" [The Songs of the Bulgarians of Asia Minor], IIM 9:73-110. 1964 "Mehrstimmigkeit in der bulgarischen Musik," Beitrage zur Musikwissenschaft (Leipzig), no. 2, pp. 101-28. No original source given. 1965 "Narodnata muzika v Pirinskiia krai" [The folk music of the Pirin region], IIM 11:149-220. 1966 "Mnogoglasieto v pesenniia folklor na balkanskite narodi" [Polyphony in the folksong of the Balkan peoples], Builgarska Muzika 1966, no. 2, pp. 3040. 1967 "Die Mehrstimmigkeit in der Liedfolklore der Balkanvolker" Beitrage zur Musikwissenschaft (Leipzig), vol. 9, heft 1, pp. 3-21. Translation of 1966 entry, although source not indicated. 1967 "Muzikalniiat folklor na shpan'olskite (sefaradskite) evrei v B?ulgariia"[The folk music of the Spanish (Sephardic) Jews in Bulgaria], IIM 12:231-68. 1968 "Obredni svatbeni pesni" [Ritual wedding songs], in Rad XII. Kongresa Saveza Folklorista Jugoslavije. Celje 1965. Ljubljana. Pp. 201-05. Khristov, Dobri 1913 "Ritmichnite osnovi na narodnata ni muzika" [The rhythmic bases of our folk music], SbNU 27. 48 pp. 1928 Tekhnicheskiiat stroezh na biulgarskata narodna muzika. Sofia. (n) Reprinted Sofia, 1956. 56 pp. 1967 Muzikalno-teoretichesko i publitsistichesko nasledstvo [Music theory and publicistic legacy]. I. Sofia: Izdatelstvo na Bulgarskata Akademiia na Naukite. 351 pp. Edited by Venelin KYirstev,and issued by the Institute of Music. Contains previously unpublished writings. Pages 33-259 concern Bulgarian folk music. Of special importance in his revised version of "Metric and Rhythmic Bases ...," written about 1929, never before published. Kremenliev, Boris 1952 Bulgarian-Macedonian folk music. Berkeley and Los Angeles. xii, 165 pp.

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1966 "Extension and its effect in Bulgarian folk song," Selected reports (Institute of Ethnomusicology at UCLA) 1(1):1-27. Kuba, Ludvik 1897 "Tonalnostite v b'ulgarskite napevi" [The scales in the Bulgarian melodies], SbNU 14:641-64. Influential in its time. Reprinted in Czech, revised by Kuba, in his Cesty za slovanskou pisni' 1885-1929, 2nd ed. (Prague, 1953), pp. 670-89. Makhan' (Machai), Karel 1894 "Nashite napevi" [Our melodies], SbNU 10:221-35. 1895 "Perso-arabski motivi v bulgarskite napevi" [Perso-Arabic motifs in Bulgarian melodies], B'ulgarskipregled 2(8):90-96. 1901 "Nashata narodna muzika samostoiatelna li e?" [Is our folk music independent?], Kaval, vol. 2, br. 1-5. (n) Motsev, Aleksandur 1949 Ritum i takt v byulgarskatanarodna muzika [Rhythm and meter in Bulgarian folk music]. Sofia. 367 pp. (Trudove na Instituta za Muzika, I.) 1955 "Taktovete s khemiolno ud?ulzheni vremena v zapisite na bYulgarskite folkloristi" [Measures with extended beats (by hemiola) in the transcriptions of Bulgarian folklorists], IIM 2/3:319-50. 1957 ""Teoriia na bfulgarskata narodna muzika' ot d-r S Dzhudzhev" [The theory of Bulgarian folk music by Dr. S. Dzhudzhev], IIM 4:241-60. Long review. 1961 Ornamenti v bulgarskata narodna muzika. [Ornaments in Bulgarian folk music]. Sofia. 287 pp. Nikolov, Kosta 1942?Beitrag zum Studium des bulgarischen Volksliedes. Berlin. Ph.D. dissertation. (n) Obreshkov (Obreschkoff), Khristo 1937 Das bulgarische Volkslied. Berne-Leipzig. 106 pp. Ph.D. dissertation, Bere. Petrov, Stoian 1965 "Narodnata pesenna kultura na banatskite bYulgari"[The folksong of the Banat Bulgarians], IIM 11:79-148. Primovski, Anastas 1963 "Mominski Trakiia (Dedeagachko, pevcheski grupi v Belomorska Giumiurdzhinsko i Ksantiisko)" [Girls' singing groups in Aegean Thrace of Dedeagach, Giumiurdzha (?) and Xanthe)], Izvestiia na (Regions Etnografskiia Institut i Muzel 6:383-91. Romanski, Liubomir 1942 "Die einfachen Koledo-Refrains der bulgarischen Weihnachtslieder," Sbornik na Bulgarskata Akademiia na Naukite 36:293-654. Ph.D. dissertation, Berlin. Spasov, Vasil 1931 Volksmusik, Volksinstrumente dissertation, Vienna. (n)

und Tanze der Bulgaren. Vienna. Ph.D.

Stoin, Elena 1952 "Suvremennata b'ulgarska narodna pesen" [The contemporary Bulgarian folksong], IIM 1:125-48. 1955 "Lazaruvane v selo Negushevo" [Lazarus Day customs and songs in the village of Negushevo], IIM 2/3:189-214. 1964 "Narodnite pesni v Srednogorieto (Sushtinska Sredna Gora)" [The Folk Songs in the Srednegorie (in the Section called "Sushtinska Sredna Gora"-The True Central Mountain)], IIM 10:97-164.

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Stoin, Vasil 1924 "Kum bulgarskite narodni napevi" [On Bulgarian folk melodies], INEM 4:71-88. 1925 Hypothese sur l'origine de la diaphonie. Sofia. 44 pp. 1927 Biulgarskata narodna muzika; metrika i ritmika [Bulgarian folk music; metrics and rhythm]. Sofia. 84 pp. German resume. 1936 "BuYlgarskite narodni muzikalni instrumenti" [Bulgarian folk music instruments], INEM 12:86-88. Treats only the dvoyanka. 1956 B'ulgarskatanarodna muzika. Sofia: Nauka i izkustvo. 100 pp. Edited by S. Dzhudzhev. Reprint of all above entries, in Bulgarian. Todorov, Todor 1962 "Niakoi melodicheski osobenosti na rodopskata narodna pesen" [Some melodic features of the Rhodope folksong], IIM 8:163-96. 1962 "Pesennite varianti v Rodopite" [Song variants in the Rhodopes], IIM 8:113-62. Vakarelski, Khristo 1952 "Muzikata v zhivota na rodnoto mi selo Momina Klisura, Pazardzhishko" [Music in the life of my native village of Momina Klisura, district of Pazardzhik], IIM 1:167-202. 1955 "Muzikalno-folklomi proiavi na Plovdivskoto izlozhenie prez 1892 g." [Folk music exhibits at the Plovdiv Exposition of 1892], IIM 2/3:267-318. With Anastas Primovski. 1957 "Belezhki po muzikalnata teoriia i estetika na naroda" [Notes on the musical theory and esthetics of the folk], IIM 4:123-58. 1962 "Ezikut na rodopskite pesni, subrani v Instituta za Muzika pri BAN" [The language of the Rhodope songs collected in the Institute of Music of the Bulgarian Academy of Sciences], IIM 8:235-56.

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