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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
251
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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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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257
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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
259
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-
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.
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261
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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263
264
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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265
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)
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.