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TENSION ENVELOP* COKP.
BULGARIAN-MACEDONIAN

FOLK MUSIC
BULGARIAN-MACEDONIAN

^f J . >.* ^ : L-U .. ,v
1

uj :.

BORIS A. KREMENLIEV

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY AND LOS ANGELES

1952
 UNIVERSITY OF CALIFORNIA PRESS

BERKELEY AND LOS ANGELES, CALIFORNIA

CAMBRIDGE UNIVERSITY PRESS

LONDON, ENGLAND

COPYRIGHT, 1952, BY
THE REGENTS OF THE UNIVERSITY OF CALIFORNIA

PRINTED IN THE UNITED STATES OF AMERICA

DESIGNED BY JOHN B. GOETZ
 FOR

GREGOR AND ELENA,

WHO INTERFERED, BUT NOT TOO MUCH
 PREFA CE

PREFACE is, in a much more real sense, a conclusion; like the overture
in music drama, it is written after the work has been completed, and properly
contains a clue to the material which follows. I feel that in the present study some
preparation of the reader is essential, since there have been very few works on the
subject written in languages other than Bulgarian and, to my knowledge, none in
English. The responsibility of being the first to acquaint the reader of English
with Bulgarian folk music is a heavy one, especially since the non-Bulgarian sources
have in part proved to be based on misconceptions of the fundamental character-
istics of the folk music under examination.

Thus, for instance, Dr. Peter Panoff, in his otherwise scholarly study, "Die Alt-
slavische Volks- und Kirchenmusik," which appeared in 1930 in Handbuch der
Musikwissenschaft, makes no mention whatever of the metric patterns of Bulgarian
folk music which differentiate it sharply from the music of other European nations.
These irregular meters are unique within the Slavic family and totally dissimilar
to the metric structures of Bulgaria's closest geographic and ethnological neighbors.
Dr. Panoffs musical erudition is beyond question. He had access to authentic
sources; he listened to actual Bulgarian folk songs and notated them for future
study. But it is exactly here that the difficulty lies: his training in the music theory
of western Europe made no allowance for the asymmetric structures which he
encountered structures which cannot be accurately reproduced under standard
metric signatures and the present method of music notation.
With Panoffs work as source material, the Harvard Dictionary of Music, some
fifteen years later, describesBulgarian folk music as "mostly dance-like, though
irregular meters are frequent" This quotation alone contains two inaccuracies:
dance songs cannot be said on statistical analysis to constitute the major portion
of the music; and, moreover, most of the typically Bulgarian dance songs are actually
built upon irregular meters.
cannot be mentioned too often that this lack of symmetry in the construction
It

of meter and rhythm especially distinguishes Bulgarian folk music from any other.
It had long been considered, as Sir Hubert Parry argued, that as music-making
nations rise in the scale of musical development, the relation of phrase to phrase
becomes more intelligible and the order of occurrence more symmetrical.
As far
back as 1912, when the statement was made, 'such a premise was already. -open to
question. In all the arts, an examination of modern trends reveals that exact sym~
viii Preface
metry being discarded in favor of relations in pictorial art, of line, color,
is and
word groupings, and structure; in music, of tonality,
mass; in literature, of ideas,
timbre, and rhythm which could' scarcely be described as symmetric in the sense
in which Sir Hubert Parry applied the term. I do not mean to suggest that Bul-

garian folk music, the product of an unlettered

and oppressed people, is an unusu-
ally sophisticated expression. However, the very fact that it does display individual
traits of a strictly contemporary nature makes it worthy of the closest analysis.
this book the term "Bulgarian" is commonly employed to indicate
Throughout
the music of both Bulgaria and Macedonia. There is no ethnological distinction
between the folk of Bulgaria and Macedonia. Whatever political divisions have
been established by various treaties are, from the point of view of folk art, altogether
artificial.
All the English versions of the poetic texts are my own. The translations make
as possible the original mean-
no literary claims, but aim rather to follow as closely
ing and poetic stress. In order to retain an authentic folk flavor,
literal translations

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

others because they lose their meaning in translation.

For me personally this work has been intensely nostalgic. I was born in Bul-
garia and spent the most impressionable years of my childhood there, but long
apprenticeship and practice of music in the United States had somewhat dimmed
my memory of the distinctive quality of Bulgarian folk music. In 1931 I began
compiling my own collection of Bulgarian folk songs, adapting some of them for
choral and instrumental performances. Both conductors and instrumentalists drew
my attention to the difficulty of the metric structures for the Occidental musician.
Original orchestral works bogged down at rehearsal and others remained unper-
formed because of their rhythmic and metric complexities.
I refused to believe that the patterns which seem quite natural and simple to
the Bulgarian peasant must remain a closed mystery to the musician in any branch
of the art who has spent years in the study of music. It
is this conviction,
perhaps
more than any other single factor, which encouraged me to inaugurate this study.
In the course of a comprehensive analysis of the folk music on the basis of form,
melody, type classification, and so on, a rather startling situation was revealed.
In contrast to inquiries into the origin and history of Greek music, where books
on the theory of music exist in large numbers, but where the surviving music exam-
ples and fragments total less than a dozen, I found myself confronted with some
twelve thousand folk songs and but two or
three detailed analytical publications.
The fabulous number of songs which such musicologists as Dobri Christov, Vasil
Stoin, Raina Katzarova, Ivan Kamburov, and others have managed to get down
on paper and subsequently into print is a tribute to their
perseverance and dedi-
cation to the cause of recording the native
song before it
disappears from the daily
life of the people as civilization advances. Unfortunately, however, their efforts
have not assured the preservation of the music for
posterity: metal is precious and
scarce and printing plate may easily be melted down
for more utilitarian purposes.
 Preface IX
An indication of this precarious future was seen in the difficulty of obtaining,
within Bulgaria itself, the publications on which the ensuing study was based.
I am deeply indebted to my brother Atanas Kremenliev for his unfailing per-
sistence in securing material for me. When music and books which were out of
print and thus not available contained some necessary scrap of information., he
somehow managed to persuade Bulgarian musicologists and research assistants to
make transcripts of articles, music, and excerpts from books. Without his assistance
this project could not have been completed for many years to come.
The editors of the University of California Press and the author acknowledge
the courtesy of the following musicologists in permitting the use of copyrighted
material from their collections (listed in the Bibliography): losif Cheshmedjiev,
Ivan Kamburov, and Raina Katzarova. The Committee of Science, Art, and Culture
(Komitet za nauka, izkustvo, i kultura) of the Bulgarian government has kindly
extended permission to quote from collections published under government spon-

sorship and made available to us by their efforts.

The cooperation in this country from Americans of Bulgarian and Macedonian
birth has been most helpful. In performing for recording, they have been able to
recreate for me the atmosphere of their native villages through song, dance, and
legend.
I gratefully acknowledge the competent advice of my colleagues in the Music
Department of the University of California at Los Angeles: Dr. Robert U. Nelson,,
Dr. Laurence A. Petran, Dr. Walter H. Rubsamen, and Dr. John N. Vincent, Jr.
In the matter of bibliography, Dr. Wayland D. Hand has been most helpful. Klaus
Brill and Richard Hoffmann rendered invaluable assistance with the German trans-
lations. Robert Erich Wolf read the technical passages carefully and offered numer-
ous suggestions for clarification. Louise and Richard Fish have graciously performed
a number of essential tasks in connection with the preparation of the manuscript.
It would be difficult indeed to find a more congenial editor than Glenn Gosling. He
has been capable, cooperative, thorough, and patient above and beyond the call of
duty.
My wife has tirelessly assisted with advice and suggestions concerning style and
presentation. She has devoted many hours to reading and rereading the manu-
script, when her time and energy could have been more pleasantly spent. The
realization of this book is in large measure the result of her efforts as well as mine.

Los Angeles, California

February, 1952
 C ONTENTS

H AFTER ONE INTRODUCTION 1

CHAPTER TWO HISTORIC BACKGROUNDS 7

CHAPTER THREE METER 16

Regular Meters
Asymmetric Meters
Unmeasured Meters
Combinations

CHAPTER FOUR MELODY 51

Scales
Intervals
Cadences
Ornamentation
Anacrusis
Modulation
Range
Harmony

CHAPTER FIVE STRUCTURE 82

Monorhythmic Melodies
Symmetric Structures
Asymmetric Structures
Incomplete Structures

CHAPTER SIX TYPES 108

Songs of the Past

Songs of Everyday Experience
Songs of the Supernatural
xii Contents

CHAPTER SEVEN INSTRUMENTS 135

The Gusla
The Bulgaria
The Kavdl
The Gdida

CHAPTER EIGHT CONCLUSION 143

BIBLIOGRAPHY 145

INDEX 157
 ILL USTRA TIONS

Diagrams of conductor's beat for a 9/16 measure 30

Diagram of conductor's beat for an 11/16 measure 35

Diagram of conductor's beat for an 8/16 measure 36

Diagram of conductor's beat for a 9/16 measure 38
Kavdl 138
Gusla 140
Gdida 140
 PRONUNCIATION: Certain Bulgarian sounds, some of which have no English

equivalents, have been represented to approximate the original as closely as pos-

sible, thus:

Written English Equivalent Written English Equivalent

% sin "pleasure" u oo in "food"
i ee in "meet" ts tsin "puts"
ii y in "may" ch ch in "church"
iu u in "union" sh sh in "sharp"
ia ya in "yacht" sht sh as above, plus t in "time"
u u in "submit"

SYMBOLS: The following symbols have been used to indicate intervals smaller
than a half tone:

Half sharp Half flat P

 CHAPTER ONE

INTRODUCTION

ANYONE with a medicum of experience in the collecting and study of

folk songs can recognize, classify, and analyze a folk song when he finds one, but
very few of us should like to state unequivocally that we have achieved an absolute
understanding of the source of any given song, its evolution, and its exact place
in the musical life of the people who gave it birth. This aura of uncertainty which
surrounds the study of all folk art is a natural outcome of the method in which
folklore is transmitted. Where preservation is
accomplished by oral means, without
written record of the transitional steps, it is impossible to determine scientifically
the exact origin of the material with which the folk artist has dealt. The folk
song, as has been pointed out frequently, is never finished; it is in a state of un-
ending However, while the many variants simultaneously in use exhibit
flux.
individual the ideational basis of a specific folk song remains essentially
traits,
the same. There exists no absolute criterion to determine the authentic, right, or
uncorrupted version. Such judgments are, in fact, irrelevant, since they would
superimpose a cultivated and civilized taste upon a natural emotional expression.
Let us suppose for a moment that a particular setting or wording of a well-loved
song proves to be the work of a twentieth-century peasant. Will the musicologist's
discovery invalidate the song as folklore, or persuade the villagers to discard the
way of singing it that is preferred and familiar for an older, more authentic manner?
The collecting of folk songs came about as a result of the rise of nationalism.
The internal evidence of the folk music which has been recorded in some countries
indicates that melodies popular among the people date back many centuries. A
fallacious deduction from these facts would lead to the untenable assertion that
what older is more authentic and thus closer to the spirit of the folk. Actually,
is

usage must be the final test of the true folk song and, in this volume, where any
questions have arisen, this has been the determining factor.
The origin of music, and thus of folk music, has always been a challenging study
to the anthropologist as well as to the music historian. Among ancient nations
the explanations were chiefly mythological: the Hindus believed that the origin
of music must be credited to a divine agency; the Chinese, that they inherited the
scale from a miraculous bird; the Nahua (North American Indians), that music
came from the sun; the Javanese, that it came from heaven.
2 . Introduction
The French were the first to show an interest In primitive music. As early as
1767, Jean-Jacques Rousseau had already included material on the subject in his
Dictionnaire de la musique. The English followed his example. More recently the
1
Germans have joined in the pursuit of the comparative science of music. In
the United States, musicology has become an established branch of study only in the

past few years.

A
complete catalogue of the various theories on the origin of music is neither
necessary nor desirable here, since the student of folklore should be well acquainted
with them. A brief mention, therefore, is made of the more important contributors
only. The speech theory of Spencer and the bird-call theory of Darwin have each
had numerous adherents. The Berlin philosopher Carl Stumpf traces the origin
of music to the signal calls primitive men employed in communicating with one
2
another. Karl Biicher, the political economist, believes that song started as the
accompaniment to rhythmic bodily movements. He points out that long and labo-
rious activities are kept up more easily if disguised as play, and that rhythm sim-
plifieswork. "Rhythm," he wrote, "springs from the organic nature of man"; 8 it
4
is automatic, instinctive.

Early research makes little or no distinction between the beginnings of poetry

and the beginnings of song. For this reason, writers on both subjects must be con-
sulted if a rounded picture is to be obtained. In the Balkan villages with which
I am familiar, even in modern times the birth of melody, words, and dance is often

a simultaneous creative process.

One of the oldest theories concerning the song of primitive peoples and its begin-
ning is that of communal authorship. Although it was A. W. Schlegel who orig-
5

inated this theory, Jacob and Wilhelm Grimm6 generally receive the credit. For
them a is a mystic yet
collective creation acceptable possibility. The folk can be
a poet; folk song created by the entire nation. Early in the study of folklore,
is

this belief met with opposition, for it

places a severe strain upon the scientific mind
to imagine a genuine spontaneous and simultaneous communal utterance which
would result in folk creation.
An
ardent supporter of the collective theory is Francis B. Gummere, who has

primitive man
stated that there is adequate evidence that expression of emotion in
could have been collective and that it is in the festal throng rather than the author's
solitude that poetry, and therefore song, is born. "The ballad is a
song made in
the dance," he writes, "and so by the dance." 7 This statement is not
original with
1
Carl Nef, History of Music (New York, 1946), p. 3.
2
Carl Stumpf, Die Anfange der Musik (Leipzig, 1911), pp. 23-34,
8
Karl Biicher, Arbeit und Rhythmus (Leipzig, 1924),
p. 17.
*
Ibid., p. 25.
"Now it is a fact, overlooked by German scholars, that A. W. Schlegel laid down a
5
theory of
communal origins almost identical with that of the Grimms, at a time when Jacob was
barely fifteen
and Wilhelm fourteen years old." Francis B. Gummere, The Beginnings of
Poetry (New York, 1901),
p. 34. Professor Gummere quotes Schlegel 's essay on Burger, found in A, W. Schlegel,, Werke (ed. by
Bockling), Vol. VIII, pp. 64 written in 1800, with particular reference to
ff.,
pp. 79 ff.
*
Two Grimm wrote in collaboration, Deutsche Sagen and Kinder-
volumes which the brothers
und Hausmdrchen, became immensely popular in Germany, and it was
through the writings of the
Grimms, certainly, that the communal authorship theory became known.
7
Gummere, op. cit+, p. 321.
 Introduction 3
Professor Gummere; it
simply restates what F. M. Bohme had recorded thirty years
8
earlier.

George Lyman Kittredge also subscribed to the communal composition theory,

but found it difficult to accept Grimm's declaration that das Volk dichtet; he could
not figure out the actual production of a ballad without the agency of an individual
author. He proceeded, instead, on what he termed just grounds of anthropological
evidence. "Different members of the throng, one after another, may chant each
his verse, composed on the spur of the moment, and the sum of these various con-
tributions make a song. This is communal composition, though each verse, taken
by itself, is the work of an individual. A song made in this way is no man's property
and has no individual author. The folk is the author" 9
Dr. Louise Pound opposes this theory of communal authorship, which she con-
siders absurd. She asks, "Did primitive man sing, dance and compose in a throng,
while he was unable to do so as an individual?" 10 And she answers her own question
thus: "Surely the individual does everything he can do, or chooses to do, as an
individual before, or contemporary with, his ability to do the same as a member
of a throng." 11
Another much-quoted authority on folklore is Dr. John Meier, whose views
were set forth early in the century. In his opposition to collective authorship he
contends that not only have the so-called folk songs always come from the upper
classes and been preserved by the peasant, but that they will continue to do so,
in spite of our more complex civilization. "The process according to Meier is now
what it always has been, first an individual composition, then oblivion of the indi-
vidual and popularity for the song, which is felt by the people 'a necessary con-
dition of folk poetry' to be their own, with manifold changes due in no case to
12
any artistic purpose or deliberation."
This belief in the origin of folk music as the art song which has been outgrown
and handed down
by the lettered classes to the illiterate masses is known as ge~
sunkenes Kulturgut, which I will refer to hereafter as the "seepage" theory. Hans
Naumann argues that folk poetry is transmitted by the lower strata of a civilized
nation, whose tastes lag far behind those of the higher strata. He does admit that
uneducated authors (Leute aus dem Volke) can be creators as well; however, they
write in the style of earlier periods. These folk songs derive from the art song,
but from the art song of a past era. On this basis a unification of hostile points
of view may be achieved. It is, then, a biogenetic law that folk poetry not the

primitive, communal
poetry in its way recapitulates the stages of preceding art
poetry. It in this sense particularly that Hoffmann-Krayer's statement, Day Volk
is
18
produziert nicht, es reproduziert nur, may be applied, Naumann suggests.
This view was elaborately enunciated by Moses Gaster in his presidential address
to the Folk-Lore Society of London in 1909. On the subject of the source of folk
8
F.M. Bohme, Altdeutsches Liederbuch (Leipzig, 1877), p. xxxv.
9
Helen Child Sargent and George Lyman Kittredge (eds.), English and Scottish Popular Ballads
(Boston, 1904), p. xix.
10
Louise Pound, Poetic Origins and the Ballad (New York, 1921), p. 9.
* Ibid.,
p. 11.
12
Gummere, op. cit.f p. 165.
18
Hans Naumann, Primitive Gemeinschaftskultur (Jena, 1921), pp. 4-5.
4 Introduction
art he asserted, "No one will deny that, irrespective of date or place of origin, the

originator/' No
14
individual and not the mass was the first matter what the social
status of the creator, "strictly speaking, these men did not belong to the masses.
35

They represented more or less what may be called the cultured classes of that time."
In the United States, Phillips Barry, like Professor Louise Pound, has opposed
thecommunal authorship theories and postulated instead a process which he terms
"communal re-creation." According to Barry, "songs created by individuals and
handed down tradition become remodeled and changed by practically each
by
individual Bela Bartok, authority on Hungarian folk music,
who sang them . . ."
lfl

supports the seepage theory also. Thus, he contends that folk music which has been
transmitted orally from generation to generation, village to village, is actually a
in the towns
corruption of the art music of some earlier period, long forgotten
where it was by trained
composed musicians, but preserved by the peasants who
adapted it own emotional contour and incorporated it into the great body
to their
17
of tradition which forms the folk art of a nation.
There is an unmistakable flavor of condescension implicit in this theory, since
artistic efforts of the simplest
it
presupposes a peasant class incapable of original
nature. Those who hold this view also seem to place strong emphasis on the assump-
tion that the peasant is of an inferior order, an indication of either historic or
the distortion of thinking. It might
professional prejudice that goes far to explain
indeed be embarrassing for a person who had spent a lifetime of concentrated and
arduous study in the acquisition of the art of composition to discover that an
uneducated peasant could create a beautiful melody without formal training.
Apparently having examined the evidence, the leading British folklorists,
all
18 19 20
among them Ralph Vaughan Williams, Cecil Sharp, and Sir Hubert Parry,
have arrived at the conclusion that somewhere a folk poet-singer composed a song
and sang it to his fellow villagers. Others sang the song after him, changing what
they did not like. The changes which begin as soon as another singer performs
the song are minor ones from individual to individual, yet in time they may alter
the original so much that its inventor would not recognize it for his own. Nor is
it, by that time, the property of any single author-composer, but rather a communal

product which contains an indication of the soul and character of the folk who
sing it and listen to it with pleasure.
This hypothesis takes into account the natural musical ability of untrained folk
and reasons that any national art music must be based upon a previously existing
body of folk music. Otherwise, it is believed, the resulting art music would be
unconvincing for listeners and performers alike and destined to an early death.
Unless, within the early history of a people, some natural demonstration of an
instinct for music, pictorial art, or storytelling is present, the superstructure of
14
Moses Caster, "Presidential Address," Folk-Lore (London), Vol. XX (1909), p. 23.

"George Herzog, "Phillips Barry/' Journal of American Folklore, Vol. LI, No, 202 (October-
December, 1938), p. 439.
17
Bela Bart6k, Hungarian Folk Music (London, 1931), p. 28.
M
Ralph Vaughan Williams, National Music (London, 1934).
19
Cecil Sharp, English Folk Song, Some Conclusions (London, 1908).
80
C. Hubert H. Parry, The Evolution of the Art of Music (New York and London, 1912).
 Introduction 5
civilized art will be erected on an extremely shaky foundation. Thus, in actual
practice, there is no nation which does not possess the rudiments of its artistic
future from the very The character of the people, the geographic, political,
start.

and economic elements traceable in a nation's history, all affect the shape and
emphasis of its civilized expression; just as the people are the foundation in mere
numbers of a national life, so, in art potentials, they constitute the building stones
of the national culture.
That geographic conditions affect musical expression is probable. An isolated
and lonely people sings in plaintive fashion; a gregarious and neighborly one sings
lively dance tunes; a coastal population echoes the music of the sea. In countries
of large area, regional differences may be ascribed, at least in part, to differing
topography. Political organization of the country's government is influential in a
different manner, since controls the level of learning among the masses. Where
it

large numbers of people are peasants, farmers, and workers, folk song abounds
and endures to ease the burden of uneventful living. Economic conditions, which
stem from the political, determine to a large extent the types of songs which will
be found and the relative proportion of work, dance, and religious songs.
All these factors can be seen to have affected Bulgarian folk music. Another prime
factor which is especially noticeable in the history of folk song in Bulgaria is the

impact of the country's history upon the nature of the folk song. For five hundred
years the Bulgarian people were ruled by the Turks, who destroyed every vestige
of native learning, permitted no schools, and eliminated native intellectual leaders

early in their occupation. And yet, as is amply demonstrated in the history of all
oppressed peoples, tradition is the staff upon which people lean in time of need.
Folk song offers, together with folk tales and ballads, a way of preserving national
culture. Events of local importance, deeds of folk heroes, romances which seemed

particularly appealing, were all recorded in song and thus remembered and trans-
mitted to succeeding generations. Inaccurate and nonfactual though the accounts
thus preserved may be, they are one of the few ways of building a national tradition
where written histories are denied.

problem of passing along a nation's history without benefit

Closely related to this
of scribe or native cleric
is the
problem of communication with friends in a country
inhabited by enemies. I was interested to observe during the Second World War
that the French Resistance employed this method most effectively. For song, in a

tongue unknown to the occupying army and with no strong emotional overtones
of anger, sarcasm, or revolutionary feeling, seems an innocent pastime. The singer
from the next village who gathers a modest crowd in the village square presents no
serious threat to armed guards. Nor can there be much danger from the songs of

working people in the fields, of small groups who gather in the evening for working
bees, or of the wedding celebrants who sing throughout the festivities.
Folk song as communication is an almost unnoticed weapon of a conquered
people, because singing and music are invariably an important part of the daily
life of the peasant. It is almost inconceivable to find a small country village without

singers, fiddlers, flutists, and others who perform on native instruments. They do
not have the diversions of the large city to while away their tim&. Music is their
theater, their nightclub, their double-feature movie. It is the emotional core of
6 Introduction
their religion, the solace which makes hard labor bearable, the magic that leads
their weary feet into dance patterns after a long day's work. Onhigher levels of
civilization the musician has been made a social pariah with discouraging fre-

quency; simple folk, however, look up to the musically gifted among themselves
and hold them in high esteem.
Bela Bartok, who follows the seepage theory of the origin of folk song, justifies
it on the ground that peasants may be considered incapable of composing new

tunes. One may wonder, then, where civilized man learned how to do what natural
man is unable to accomplish. Must one suppose that the extensive theories of
scales and harmony, for instance, were formulated from thin air before music of

any kind could be created? It is highly improbable that authorities on the origin
of music would endorse a hypothesis which insists that a man must write before
he can sing. This specific study of Bulgarian folk song would have been abandoned
midway had evidence pointed to the music as being what I should like to call
secondhand.
In investigating what has held the popular imagination over long periods of
time, one gains a definite respect for the taste of the peasant. Setting aside some
earthy crudities which may offend the delicate, one concludes that music which
has survived and been sung many times over is certain to display intrinsic value.
There is an unfailing dignity in the simplest of folk melodies that cannot help
but be instructive to the schooled musician and especially appealing to the listener
whose ears have been assailed with every novelty of auditory experience that the
modern composer has been able to invent. Although strict analysis is the prime
object of this study, the lasting quality of the folk music included here is not the
least rewarding discovery that has been made.
 CHAPTER TWO
HISTORIC BACKGROUNDS

) LA VIC-SPEAKING
peoples, of whom the Bulgarians are a part, represent
the largest linguistic group in Europe today, with a population totaling well over
200,000,000. The early history of the Slavs as a whole is rather obscure. According
to Samuel Hazzard Cross, the presence of the Slavs in Russian territory, "if the
identification of Herodotus's Neuri as Slavic is correct, reaches well back toward
the beginning of the first millennium before Christ/* 1 Historians have traced Slavic
origins to the ancient Scythians, Sarmatians, Thracians in fact, to virtually every
nomadic tribe that inhabited eastern Europe during the formative stages. Pliny the
Elder 23-79) was the first to identify the Slavs as Venedi in his Naturalis
(ca. A.D.
historiae. Itwas not, however, until around A.D. 550 that the name "Slav" appears
in written records (De rebus Getica of Jordanes).
It seems certain that sometime during the first century of the Christian Era, tribes
which later proved to be Slavic crossed the present Carpathian Mountains and,
moving gradually westward, settled eventually where now we find the three main
geographic divisions of the Slavs: eastern (Russians), western (Poles, Czechs or
Bohemians, and Moravians), and southern (Slovenes, Serbs, Croats, and Bulgarians).
From ethnological and philological points of view the Bulgarians are one of the
most interesting ofall Slavic peoples, since their culture is a curious amalgamation
of the Slav tongue with traits they do not share with the remaining members of
the Slav family.
From the first to the seventh century, the territory now kno'wn as the Balkan
Peninsula was in a constant state of flux, politically, economically, and ethnologi-
cally. Waves
of nomadic invasions ebbed and flowed, tribes prospered and dis-
appeared; the Balkan Peninsula thus became alternately cradle and grave to
various cultures, religions, and races. Because no static core of population existed,
historic records are understandably meager. The information we do have, how-
ever contradictory, serves to give a picture of even greater unrest and instability
than usual in the forming of national boundaries. Among the tribes that came
is

either to colonize or to pillage were the Goths, the Huns, the Ostrogoths, and,
somewhat later, the Slavs. The Thraco-Illyrians, who had inhabited the territory
through all the previous invasions, were totally absorbed by the Slavs.
1
Samuel Hazzard Cross, Slavic Civilization Through the Ages (Cambridge, Mass., 1948), p. 11.
8 Historic Backgrounds
Some of the invaders were advanced in culture and peaceful in nature; others
were crude and warlike. After many decades the region gradually acquired a
certain amount of prosperity. When the Bulgar hordes appeared at the end of the
seventh century, they were attracted by what they saw between the Danube and
the Aegean Sea, and decided to settle there.
The origin of the primitive Bulgars has never been definitely stated to the satis-
faction of modern historians. Authorities have described the Bulgars as "nomadic

people of Ural-Tsud or Finnish extraction," as "people of Turkish origin/' as a

nation of "Scythian or Slavo-Tartar extraction," as "Finno-Ugrian." Theophanes
(ca. A.D. 758-817) identifies them as Huns; Constantine Porphyrogenitus (A.D. 905-

959) believes they were known as Onogundors at one time. Other names given to
their predecessors were Ohogurs, Sanagurs, Kuturgurs, Hunugurs, Avars, Pet-
chenegs.
Byzantine writers in the second half of the sixth century tell us that the primitive
Bulgars were not Slavs, and from the numerous sources available we are able to
piece together amore complete picture. The Bulgars were a military tribe which
"through perfect organization and iron discipline imposed its will upon tribes
more numerous and more cultured than itself." 2 The arguments advanced by Dr.
Ivan Shishmanov (who is the leading authority on the subject in Bulgaria) seem
to leave no doubt that the Bulgars are of Turkish-Tartar origin, and that the name
"Bulgar" comes from the river Volga on whose banks the Bulgars settled at one
8
time, calling themselves "Volga people."
Toward the middle of the seventh century, hordes of wild Bulgar horsemen, led
by Isperikh, swept across the Danube into the Balkan Peninsula to conquer the
more cultured Slavic inhabitants. Although their military strength and skill
presented a continuous menace to the Byzantine emperors, the internal relations
between victor and vanquished were somewhat more peaceable. Within the next
two centuries, while waging wars that extended Bulgarian territory far beyond its
early boundaries, the Bulgars adopted the language, customs, and cultural pat-
terns of the Slavs and effected such a complete assimilation
through intermarriage
that only the Bulgarian name and political organization remained.
The
first
Bulgarian kingdom was founded in 679 by Isperikh. Boris I, whose
reign extended from 852 to 884, introduced Christianity into Bulgaria; his people
were evangelized by disciples of the Macedonian missionaries St.
Cyril and St.
Methodius. originated the Cyrillic alphabet specifically for the Bulgarians
They
and in use in Bulgaria as well as in Russia and
it is still
Yugoslavia. Boris hesitated
a long time in making his choice between the Roman Catholic and the Eastern
Church, but finally chose the latter.
The Bulgarian empire was established by Simeon (893-927), under whose
first

leadership great progress was made in arts and letters, but the glory of the empire
he founded was short-lived. After his death, the
Bogomil heresy, which denied the
divinity of Christ, split Bulgaria disastrously. A separate western empire, includ-
ing Albania and Macedonia, was founded at Ohrid under Shishman of Turnovo.
2
E. J. Dillon, "The
Origin and Language of the Primitive Bulgars/' The Shade of the Balkans
(London, 1904), p. 278.
3
Ivan D. Shishmanov, Kriticheski
pregled (Sofia, 1900).
 Historic Backgrounds 9
The division proved fatal, and distracting wars on the eastern borders made it
possible for Greece to conquer the eastern empire in 967. The western empire
survived until 1014, when the Greek Basil II (known in Bulgarian history as
Bulgaroktonos, or "Slayer of Bulgarians") committed one of the most barbaric
atrocities of historic record. He blinded 15,000 Bulgarian
prisoners of war, leaving
one soldier in five hundred with one eye to lead the men back to their own camps.
A few years later the first Bulgarian empire collapsed completely and Bulgaria
remained subject to Byzantium for more than a century and a half (1018-1186).
Ivan and Peter Asen of Turnovo led a combined insurrection of Vlachs4 and
Bulgars to regain Bulgarian independence in 1186. The capitol of this second
empire was at Turnovo, which the Bulgarians of today consider their traditional
capitol. Of the line of Asen emperors, who traced their origin to Shishman, Ivan
Asen II was the greatest, and indeed perhaps the greatest of all Bulgarian monarchs
in history. During his reign (1218-1241) he brought Albania, Epirus, Macedonia,
and Thrace into the Bulgarian empire; he governed justly and well and saw a
flowering of the arts and of commerce and a prosperity hitherto unknown to his
people. With the dying out of the Asen line in the middle of the thirteenth cen-
tury, the decadence of the country terminated in surrender to Serbian forces. The
Bulgarian nobility never again recovered its former power, and in 1396 the last
Bulgarian dynasty was annihilated by the Turks. For five centuries, under Turkish
yoke, Bulgarian independence remained a memory and a myth to the Bulgarian
peasantry.
This was the darkest epoch in Bulgarian history. "The invaders carried fire and
sword through the land; towns, villages and monasteries were sacked and destroyed,
and whole districts were converted into desolate wastes." 5 The inhabitants of the
plains fled to the mountains, where they founded new settlements. Many of the
nobles embraced the creed of Islam and were liberally rewarded for their apostasy;
others, together with numbers of the priests and people, took refuge across the
Danube.
The Christian population was subjected to heavy imposts, the principal ones being the
haratch, or capitation tax, paid to the imperial treasury, and the tithe on agricultural
produce, which was collected by the feudal lord. Among the most cruel forms of oppression
was the requisitioning of young boys between the ages of ten and twelve, who were sent to
6
Constantinople as recruits for the corps of janissaries.

The long era of subjection left the Bulgarian peasants without aristocracy or
intellectual leaders of any kind. Because of this lack of literate spokesmen, the
existence of the Bulgarian people was almost unknown in Europe as late as the

beginning of the nineteenth century. Even students of Slavonic literature were

unaware of the ethnic group which comprises the Bulgarian nation. As a matter of
fact, most of the peasants themselves did not know that they were Bulgarians; for
centuries, kept in ignorance by the Turkish war lords and Greek clergy, they had
Vlachs, or Ruman race, are a Latin people, the majority of whom live in Rumania. The
The
4

Vlachs involved in the revolt of 1186 were settled in Thrace, Haemus, and the Moesian lands.
Especially heavy taxes levied in 1185 provoked the rebellion.
B
James David Bourchier, "Bulgaria," Encyclopaedia Britannica (llth ed.; New York, 1910), Vol.
IV, p. 780.
9
Loc. cit.
i o Historic Backgrounds
been referring to themselves as Greeks. In 1762, Father Paisii, a monk of Mount
Athos, wrote a history of the Bulgarian tsars and saints which is
actually the first

volume of Bulgarian literature still extant, all earlierwritings having been sys-
tematically burned by the Turks. The works of Father Paisii mark the awakening
of national consciousness in Bulgaria.
With the dawn of the nineteenth century, the national revival heralded by the
writings of Father Paisii spread widely. Several works in modern Bulgarian ap-
peared, and in 1835 the first Bulgarian school at Gabrovo began instruction in
the native language. As consciousness of their national entity stirred among the

Bulgarians, a strong reaction against the Greek clergy set in. Although there were
it was by the
scattered military uprisings, pen rather than by the sword that
recognition of Bulgaria was finally achieved. In 1870, perhaps as a sop to their
increasingly restless slaves, the Turkish government recognized an autonomous
Bulgarian Church. Encouraged by this forward step, a premature revolution broke
out in 1876, and was savagely suppressed by the Turks.
Word of the attendant atrocities reached western Europe and aroused the sym-
pathy of the outside world. Russian forces invaded Bulgaria in 1877 and liberation
came last in 1878. At the Treaty of San Stefano (March 3,
at
1878), Bulgaria's
fondest hopes were realized and an independent Bulgaria was established with
generous boundaries. The triumph was brief, however. The role which Russia
had played in the turn of events caused uneasiness among the greater European
powers who remapped the Balkan Peninsula in Berlin on July 13 of the same year.
Bulgaria was then divided into three sections, separating Eastern Rumelia and
almost the whole of Macedonia from Bulgaria proper. In April, 1879, the
assembly
at Turnovo elected, as the first
sovereign of the third Bulgarian kingdom, Prince
Alexander of Battenberg, member of the grand ducal house of Hesse and
nephew
of the Russian tsar. The monarchs who ruled
Bulgaria from that date until the
establishment of the Bulgarian National Republic in 1944 were related to all the
major royal houses of Europe and in no way connected with the native Bulgarian
dynasties, which became extinct in 1396.
The boundaries set up no means final. The country now con-
in 1878 were by
tains some 6,000,000 Bulgarians about 40,000 square miles, -and is bounded by
in.

Rumania on the north, Yugoslavia on the west, Greece on the south, and the
Black Sea on the east. Macedonia, after the First World War, was divided between
Bulgaria, Greece, and Yugoslavia. With the end of the Second World War, Bul-
garia has gradually been gathered into the group of Balkan nations now
effectively
contained behind the Iron Curtain.
The ancient Slavic peoples, according to the information we have been able to
piece together, had a superstitious faith in the power of sound. As a pagan race,
they believed in powers superior to man who controlled the destiny of the universe
and directed human affairs. their
Consequently, was rich in water
mythology
nymphs, wood sprites, and strange ritual. or chanted at sacrificial cere-
They sang
monies, at funerals and weddings, at work and at play. Music was a
highly respected
art, and talented members of the
community were trained in its mysteries. The
gusla, a primitive instrument still in use in Bulgaria, supplied the musical accom-
paniment for the folk singer, who was thus known as a or
guslar gaduldl Although
 Historic Backgrounds 1 1

his songs were never written and his music frequently stemmed from
requests or
suggestions of his fellow peasants, the guslar can be said to be the prehistoric pred-
ecessor of the Slavic composer. The manner of performance of music exhibiting
a distinctly spiritual tone is still popular among the Bulgarian peasants; in certain
isolated parts of the country they still practice rituals which date from very early
7
centuries.
The
existence of pre-Christian folk music is barely discernible in the mass of
Bulgarian folk songs still available for examination. In the songs of ritual and
legend, of myth and fantasy, there are, however, certain faint echoes of ancient
8
times. From
the remaining examples we may assume that the music of the early
Slavs was purely melodic, with strong diatonic foundations; the melodies were
monotonous and void of wide intervals. They closely followed the text, forming
two-verse couplets. Duple meter was the most frequent, although irregular five,
seven, and similar measure units which appear in later Bulgarian folk songs were
sometimes used. 8
With the conversion of Bulgaria to Christianity in the ninth century, folk music
was subjected to strong antagonism from the clergy. The unmistakably pagan
flavor of the folk song was naturally censured by the Christian leaders who were
attempting to bring the light of their own religion to the Bulgarian peasant. And,
since the records of all things Bulgarian were totally, destroyed in a later epoch, it
isnot altogether clear how successful were these attempts to suppress the spon-
taneous musical expression of the natives.
The Bulgarian clergy, perhaps as a countermeasure, began to sponsor and em-
ploy a Bulgarian liturgy which differed from the then-accepted Greek Orthodox
or Roman liturgy in use elsewhere. As late as the twelfth century, influences from
the music literature of both churches are apparent, although the Greek Orthodox
connections, always stronger than the Roman, were of greater importance in the
formation of an independent Bulgarian church music.
Bulgarian musicians in turn have played an important role in the establishing
of church music in Russia. Toward the end of the tenth century, Vladimir, Prince
of Russia, took Bulgarian Archbishop Mihail from Constantinople to Kiev. With
Mihail were many bishops and priests, as well as many church singers and their
assistants, all chosen from among the Bulgarian Slavs and sent to Russia in order
that they might teach the newly Christianized Russian people the Christian litur-
gical songs according to the Eastern Church tradition. Mihail, himself a learned
man and well versed in religious matters, converted many thousands, selected
10
church officials, and built new churches throughout Russia,
7
The most primitive of all rituals among the Bulgarians of today is the fire dance. The details
vary with local customs. However, the many versions all have one theme in common: whether the
customary fire dance takes place before sunrise, during the day, or late in the evening, the par-
ticipants will be protected against evil powers, magic,
and sickness. They will be immune to
poisonous snakes. They will avoid unhappy marriage, and their crops will not suffer from fire, flood,
or hailstorms. On this occasion old grudges are forgiven and friendships are renewed. The ceremony
includes not only dancing but singing, shouting, and the firing of guns. The fire dance is attended

by young and old alike.

8
Among them are songs for rain, songs dealing with the creation of the world, the "wedding of
the sun/' Others resemble Greek odes to heroes and the gods of many centuries before Christ.
D. B. Radev, Obshta istoria na muzikata (Sofia, 1948), pp. 33-34.
10 nintavp T*fp. Musir. in the Middle Aires fNew York. 194CN. D. 95.
1 2 Historic Backgrounds
The first Bulgarian composer of whose music we have any
tangible record is the
twelfth-century musician, Ivan Kukuzel. In the history of Eastern Orthodox church
music, contemporary Bulgarian musicologists place Kukuzel second only to St.
John of Damascus (d. 754), famous Syrian composer-poet who has been credited
with the invention of the eight echoi of the Byzantine chant.
Ivan Kukuzel was born in the village of Dzermentzi, Debur, in western Mace-
donia, in all probability toward the middle of the twelfth century. There is con-
siderable disagreement about his exact dates. One source gives them as 1227-1279,
and others place 'him even later. From various accounts of his life it is obvious
that he lived in the time of the First Crusade, and that he was educated in the
courts of Constantinople, where he remained for some time, composing and writ-

ing books on church music.

Emperor Alexius I (1048-1 118) commissioned him to create a new type of chant,
"more impressive and more solemn than that of St. John of Damascus, a chant
worthy of the splendor of the Byzantine Empire." The result, notated in neumes
of Kukuzel's own invention, is known as papadikai. Thus Ivan Kukuzel is reputed
to have had much influence on Greek church music.
In his church compositions Kukuzel employed folk-song melodies. One of these,
Polieleiat na Bulgarkata (example 1), notable for its polished, formal structure
and melodic beauty, is still sung during Passion Week in the Eastern Orthodox
services in Bulgaria. With its unusual range (almost two octaves), daring modu-

lations, and developmental approach, Kukuzel's Polieleiat na Bulgarkata is an

exceptionally advanced composition for the epoch in which it was composed.

Other compositions of Kukuzel's which are sung in the Eastern Orthodox services
are Pridvorna Heruvimska pesen, S'vishe prorotzi, and Vladiku i Sviashtennona-
chalnika nashego.

Example 1. Polieleiat na Bulgarkata. Ivan Kukuzel. Transcribed by Peter Dinev."

I
J Jjjj J J JJ JJ. J'JJ JTJ'J J J II

E ei Gos -
po - ho - di

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

significantly differentfrom that of the Greeks, and known as the Bulgarian chant,
evolved. Three main influences played a part in the formation of this character-
istically Bulgarian church music: the importation of bishops and priests from
Rome, where the rise of the polyphonic style was already under way; the ascend-
ancy of the Greek Orthodox Church in the political structure of the Bulgarian
Church; and, last, the authentic Bulgarian chant, which undoubtedly flourished
in the famous school at Turnovo and which was enriched
by the cplorful folk
songs of the times. Unfortunately, except for music in Kukuzel notation, no other
records of such early music have been uncovered in
Bulgaria; together with other
native cultural achievements, they were destroyed by the Greek
clergy after the
Bulgarian Church was placed by the Turks under Byzantine control.
A few remnants of Bulgarian church music have been preserved in manuscript
11
Peter Dinev, Duhovni muzikalni tvorbi na Ivan Kukuzel (Sofia, 1938).
 Historic Backgrounds 1
3
in Russia, whither fled the leaders of the
Bulgarian Church during the fifteenth
century. Russian musicologists have thus had an opportunity to study the Bulgarian
chant; it is from their research that we may sketch even briefly its distinctive
characteristics, for they have praised its construction, originality of concept, and
12
beauty. Barsky, a traveler, author, and Russian authority on Eastern church
music, writes that the Bulgarian chant of the seventeenth century was much more
beautiful and melodious, and had a more religious, spiritual content than the
Byzantine chant.
The Greek clergy obtained permission from the Turkish conquerors to assume
complete control over the Bulgarian Church. From the time of the Turkish in-
vasion, then, the written record of Bulgarian life is nonexistent. The spiritual and
political conquerors undertook to wipe out every trace of whatever was Bulgarian
and to keep the native population in ignorance and subjugation so abject that at
no time would there be a threat to the power of the oppressor. There were no large
gatherings of the people except in church; there were no schools, no village meet-
ings, none of the usual group efforts through which a peculiarly national art or
culture is
normally preserved.
And yet, despite these difficult conditions, not only did the national music not
disappear, but it
actually continued to develop and evolve into a "poetic and
musical treasure, an expression of the thought and the creative genius of the folk." 33
There are few Bulgarians and, indeed, few students of Bulgarian history and
culture who would agree with the poet Pencho Slaveikov, an authority on Bulgarian
folk art, when he says: "The Bulgars should be very grateful to their five hundred

years of slavery. It is due to this, in the first place, that they have remained Bulgars,
for the Turkish overlords after suppressing every class distinction left them long

enough in peace and gave them ample opportunities to conjure up a soul, to

14
generate a body, to subdue themselves in circumstance."
In this highly colored statement, however, lies an important clue to the under-
standing of the folk music which we shall examine. Without unduly laboring the
point, it must be remembered that when the Turkish conquest had subdued all of

Bulgaria, the Bulgarian people were without leaders, aristocracy, intellectuals.

Only peasants remained, and these fled from the plains and cities to the relative
is therefore a mountain people, unlettered and isolated
safety of the mountains. It
one community from another, that is responsible for the enormous body of Bul-
garian folk music under consideration here.
Most Macedonians and Bulgarians live in villages, away from the distractions,
danger, and sophistication of the cities. (The danger of living in big cities, in
Bulgaria at least, has been actual and physical through the centuries of constant
pressure,since the little country has always been strategically important for the

Drang nach Osten.) Cut off from commerce and the ruling class, the Bulgarian

peasant has created a life of his own, a lifewhich knows few virtues, chief among
12
A. Voznesenski, Bolgarskii rospev (Kiev, 1903), records this impression of the music. Among many
religious compositions of Russian composers making
use of Bulgarian chant, Tebe odeiushtagosia
and Blagoobrazni losif of Bortnianski are among the best known.
18
Radev, op. cit., pp. 89-90.
14
Pencho Slaveikov, "The Folk Song of the Bulgars," The Shade of the Balkans (London, 1904),

p. 59.
1
4 Historic Backgrounds
them those of work and song. In song the peasant exposes his innermost feelings
of sorrow and exaltation, of reverence and
superstition. It is a catharsis for the
experiences of a person, a community, a race. It is in the song that we find the
spirit of the nation. Macedonians and Bulgarians sing alone, in groups, in the
fields, returning home from the harvest, at working bees during the winter months.
For many centuries the social life of the Bulgarian has revolved around work,
music, and dance.
It is not strange, therefore, that the folk music of the
Bulgarian is closely con-
nected with dance and song. All musical forms have felt the influence of the rich
cultural heritage of the various peoples who have crossed the tiny country of the

Bulgars, leaving behind new and frequently strange ideas, customs, and skills. In
thirteen centuries, however, the Bulgarians have assimilated all foreign influences
in a national tonal art which embraces the elegance, the tenderness, and the
creative impulse of the Slav, and the angular, the daring, the harsh qualities of
his more Oriental pre-Slav predecessors. It is inevitable that from this type of
historic preparation an art should evolve that is
tremendously complex despite its

primitive appearance.
Systematic collection of national folklore in Bulgaria is a comparatively recent
accomplishment. In fact, there was no serious effort on the part of Bulgarian
scholars to assemble the folk song of their native land until the Ukrainian his-
torian lurii Venelin (1802-1839) stimulated interest in that direction. 15 Since then,
within a mere century and a quarter, the collections of Bulgarian folk songs have
grown richer and richer, new collections being constantly compiled. Thus between
1816 and 1878 alone, more than 2,000 songs containing 74,166 verses were col-
lected."
When the nineteenth volume of Sbornik za narodni umotvorenia i
narodnopis
was published in 1900, it contained 3,000 additional folk songs. The number of
notated folk songs to date is difficult to estimate, but it is certain that the total
exceeds 20,000. The excellent collections of Vasil Stoin contain several thousand
songs. The younger
generation of musicologists and composers is aware of the
importance of such preservation of the national song. As a result, most of the
in the musical life of Bulgaria have collections which
people prominent they them-
selves started and are constantly enlarging.
For the present studyI have consulted collections
containing some 12,000 folk
songs. Of
these sources, examples have been chosen most
frequently from the fol-
lowing volumes (see Bibliography): Vasil Stoin, Narodni pesni ot Sredna Severna
Bulgaria^ Narodni pesni ot Timok do Vita, Bulgarski narodni ot Iztochna i pesni
15
Venelin (Venelovich), who was born Georgi Hutza, studied
lurii
religion, history, and medicine.
Delayed by the Greek revolution of 1823, while on a trip through eastern Europe, he was so
impressed with Bulgarian folk art that he immediately commenced the study of their language,
history, and culture. Upon completion of his study of medicine in Moscow, Venelin published his
Drevnie i nineshnie bolgare .
(Ancient and Modern
. . a book which had
Bulgarians), far-reaching
effects. Venelin highly respected in Bulgaria for having thus resurrected the hopes of her people.
is
18
The first Bulgarian folk song to appear in print seems to be the one in Vuk Stefanovich
Karadjch's Narodna srbska pesnarnitza, published in 1815. According to Professor Mihail Arnaudov,
it was a
lyric song from Razlog, which Karadjch had heard a Macedonian sing in Vienna
(Ocherki . . .
, p. 77).
 Historic Backgrounds 1
5
Zapadna Trakia, Bulgarskata narodna muzika; Ivan Kamburov, Illustrovan
muzikalen rechnik, Bulgarski narodni pesni, Muzika i narod; Dobri Christov,
T echnicheskia stroez na bulgarskata narodna muzika; Mihail Arnaudov, Ocherki
'

po bulgarskia folklor; Sbornik za narodni umotvorenia i narodnopis, Volume

XXVII and Volume XXXIX.
 CHAPTER THREE

MET ER

and same time one of the most fascinating

^_^J NE OF THE most
folk music
difficult at the
its meter. It is difficult because in the
is that of
as'pectTof Bulgarian
discussion of meter we must introduce elements which are not found in Western
to be as logical at
music, and fascinating because the metric patterns will prove
the end as they would appear strange at the beginning. Following are the metric
schemes which appear in Bulgarian folk songs: regular; asymmetric; unmeasured;
combinations of regular, asymmetric, and unmeasured.

REGULAR METERS
Simple duple meter is bymost common of
far the all regular meters in Bulgarian
folk music. The most frequent forms are:

4JA J >
J J >
J nn >
J > <TTJ"3,J. *
In fast J = 130-160), 2/4 is the metric signature for the Prosto hdro
tempo (
each measure from
(ordinary dance). When 2/4 provides
the setting for poetry, sets

The in Bulgarian folk music is,

two to four syllables. simple structure of the 2/4
however, balanced by the variety of musical sentences which it forms: six-measure
five-measure groups* (2 + 3) or (3 + 2),
periods (5 + 3), nine-measure periods (3 + 6),
seven-measure eleven-measure
groups (3 groups (4 + 3 + 4), fourteen-measure
-i-
4),

groups (4 -f 5 4- 5), and many others.

Example 2 uses many of the subdivisions in duple meter. The metric patterns
1
Example 2.

M.M. J= 152

r ir c/J'r nr
established in the first four measures are repeated almost identically, beginning
with measure five. At measure eight, where the final cadence would ordinarily
fall, a new metric pattern is introduced to retard the motion and make a two-
measure extension more graceful.
1
Vasil Stoin, Bulgarskata narodna muzika (Sofia, 1927), p. 69, No. 163. In all quotations from the
various collections of Stoin, the notation is his except where otherwise indicated.
 Meter
The triplet as ji In 2/4 or jJ In fast 6/8 Is more frequently found In
Instrumental than In vocal music (example 3).

Example Played on the kavdl by Marko Dim. Djonov, 35, of Stakevtzi, Belogradchlk,
3.
2
September, 1926. Notated by P. E. Stefanov.
M.M. JrlTO
3 ^ P**^ 3

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

J if J 'ir
f
f
f\ r
r r i

-
Tzve-te mi-lo, tzve-te kras-no koi te tfi-ka po sa di?

hf nfrinr F
ir
F ip
J'lr
P6 - sa - di me de - do Gos-pod s ne-go-va* ta si ru - ka.

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

Of the three forms of triple meter (Jj3, JU and J J\ the last, or

trochaic, the most frequent in the few examples available. In Bulgarian folk
is

music there are no dance songs in regular triple meter.

In combination with other meters, however, 3/4 is by no means rare. Examples 5
through 10 illustrate various methods of obtaining such combinations.
2
Vasil Stoin, Narodni pesnt ot Timok do Vita (Sofia, 1928), p. 1080, No. 4036. Hereafter cited as
Ot Timok do Vita.
8
Examples where source or notation is not indicated have been taken from the personal collection
of the author.
18 Meter
Example 5. Combination of 2/4 and 3/4.*

M.M.Jsl52

B
Example 6. Combination of 3/4 and 2/4.
. M.M.JSUO

6
Example 7. Combination of 3/4 and 4/4.
ft M.M.J=120

L
?

*>pr L?I" r^3^

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

A M.M.J*80

Triignali sa (2) They are leaving (2)

Trima svetog6rtzi The three worshipers
Ta shte idat, shte iotidat (2) And they'll travel till they reach (2)
Po svetata gora. The holy places.
Shte preminat (2) They will cross (2)
Starata planina. The Balkan mountains.
Shte preminat (2) They will cross (2)
Trakisko ravno p61e. The Thracian plains.
Shte preminat (2) They will cross (2)
Reklta Maritza, Maritza River,
Shte nagaziat (2) They will cross (2)
Ch^rno i B^lo m6re, The Black and the White Sea,
I shte otidat And they will reach
Po svetata gora. The holy places.
Tarn shte kupiat, They will purchase there
Sre"burni kambani. Church bells made of silver.
*
Vasil Stoin, Narodni pesni ot Sredna Severna Bulgaria (Sofia, 1931), p. 849, No. 2624.
*
No. 901.
Ibid., p. 299,
7&d.,p.41. No. 113.
7
Ibid., p. 857, No. 2662.
 Meter
Example 9, Combination of 3/4, 4/4, 2/4, and 5/4. Ndni mi, ndni (Lullaby). Sung by
8
Tzveta Ivanova Drambozova, 32, of Debovo, Nikopol.

M.M.J = 116 . .
^
3 ^
Na-ni mi, na -
ni, ma- mi- no de -
te, e - la su-nio,

ot go-ri - fa - ni Tzoch-ka za ru - chi - tza .

10. Combination of 5/4,

Example 3/4, and 4/4. Nedovolna ot svekurva kavgadjika (Dis-
satisfied with Her Quarrelsome Mother-in-Law). Sung by Georgi Daskalov, 47, of Petokla-
9
dentzi, Svishtov.

M.M.J=60

Pa-vliu-vi tza, mla-da bul-ka be-li ri-zi tia pe-re-she.

Other combinations not quoted here include 4/4 and 3/4, 5/4 and 3/4, and so
on. The examples of melodies which use 3/8 with other metric groupings are not
so frequent as those given. Examples 11, 12, 13, and 14 are, in fact,
very unusual.
Example 11. Sung by lona Mar. Krustevska, 75, of Golema Zelezna, Troian. 10

n 5^
16- dil
^
Di mi -
Wm
tur za Su -
Ija,

iu - ba - va Su - ba Koi no - va.
13
Example 12. Sung by Stefana P. Sheitanova, 26, of Troian.

Pa trugr- na Sto - ian io - ti - de na

B
dul -
ga.

pu - ta za-mi- na, pa se na - za -de po -vur

s
^>" ^ r 7T f
ha - si na - - tro -
na, man, pa por ti po pa.

8
No. 2696. For complete text see p.
Ibid., p. 868, 129.
9
No, 1420.
Ibid., p. 473,
JO
J6id v p.541 No. 161'3.
>

11
Ibid., p. 447, No. 1353.
 Meter
Stoian had departed already,
Upon his long journey had gone,
When backward he turned of a sudden
And knocked at the gates of his home,

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

M.M.Aieo /^

- -
Pur-che4e mi fur-clie - le, La-za -
re> si-vi s be - li
gn In be.

Example 14. Turchin sldza iz gord zelena (A Turk Descends from the Green Forest). Sung
by Ninka K. Rampelska, 58, of Staliiska-Mahaia, Lorn, January, 1927. Notated by Christo
13
Iliev.

M.M.h=60 ^^ ftfe (A 120) ^

dflb

Tur-chin sla za iz - ra
go
( A 120)
tu - tun pi iz
r
lu la
^
cher -ve- na.

The 6/8 as triplets is found only in instrumental music; in slow tempo it is so

rare that may it be considered nonexistent. Of
the folk songs in regular rneter all

which have been examined in the course of this study, more than half are in 2/4;
approximately one-tenth are equally divided between 3/4 and 4/4; and the re-
mainder are in combinations of the above. Most folk songs in regular meter (with
the exception of a certain number in 2/4 which are dance-inspired) stem from
lyric folk poetry and are not associated with the dance.

ASYMMETRIC METERS
A great many of the Bulgarian dance songs bear such metric signatures as 7/16,
9/16, and 15/16. These tunes are by far the most interesting, since the combina-
tions of seven, nine, and fifteen in these instances are not septuple, compound

triple, and compound quintuple time, respectively, but are, instead, measures
which contain three, four, and seven asymmetrically combined beats, each beat
containing two or three sixteenth notes.
Whether this conception of metric grouping is of purely Slav origin has not
been established. Further research into the history of Bulgaria before the seventh
century might uncover data on the possible influence of Tartars, Thraco-Illyrians,
and Petchenegs all of pre-Slav origin. Greek writers have emphasized the fact
that the origin of their music is chiefly Asiatic. It is possible, therefore, that cen-
turies ago both Slavs and Greeks drew from the same source Arabs, Persians, and
14
other races. In the music of present-day Turkey and Greece these asymmetric
12
Stoin, Ot Timok do Vita, p. 73, No. 300.
M
JWdL,p. 333, No. 1384.
14
The theory of Hindu music acknowledges metric patterns, or angas, with one, two, three, four,
five, seven, and nine units of time.
 Meter 2 1

meters are found only In isolated instances; in Bulgarian music, however, they are
widely and consistently used.
Bulgarian musicologists in recent years have written extensively on the unique
rhythmic and metric patterns of their native music. Professor Dobri Christov, Dr.
115

16 17
Stoian Djudjev, and Vasii Stoin have done outstanding work.
Dobri Christov (1875-1941) assumes that in Bulgarian music the sixteenth note
is a basic time unit (the chronos protos of Greek theorists) and as such is indivisible.
Two such notes result in one measure unit, which lends itself to a dance step.

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

ordinary measure unit (0

and the elongated measure unit ( JX) is therefore 2:3
)

(Irrational relationship). The elongation is mathematical and not agogic. Thus

5/16, 7/16, 8/16, and so on are merely results of the combination of regular and
elongated measure units. Christov refers to the theory of Aristoxenus, and specu-
lates on the origin of these metric groups as possibly being of Dorian, Phrygian,
18
Thracian, or Hindu derivation.
Stoian Djudjev (1902- )
also takes as a point of departure the Greek theorists
and philosophers. He maintains, however, that Dobri Christov's theory In regard
to Irregular Bulgarian and Macedonian meters is based on a misinterpretation of
the Greek terminology. Since the prime unit (chronos protos) Is a unit of measure-
ment, It cannot possibly be altered from regular to elongated and so have different
values within the same measure. This would be as impractical and as illogical as,
for instance, stating the dimensions of an object partly In centimeters and partly
in inches. We may measure
by either system, but never by both at once. There-
it

fore, concludes Djudjev, of regular and elongated measure units,

we may not speak
but only of regular and elongated beats. The basic unit of measurement remains
the same, while the beat might change so that two or three measures in simpler
meter make one measure of higher order, as ritmo di ire battute and ritmo di
quattro battute (e.g., the development section of the Scherzo of Beethoven's Choral
Symphony). And since even the most metrically complex measures may be broken
down Into various combinations of simple duple and simple triple time, the Bul-
garian so-called irregular meters are nothing more or less than various combina-
tions of such meters, which could be Interpreted as ritmo di tre battute, ritmo di
15
Dobri Christov, Technicheskia stroeZ . (Sofia, 1928).
. .

16
Stoian Djudjev, Rhythme et mesure dans la musique populaire bulgare (Paris, 1931).
17
Vasil Stoin, Bulgarskata narodna muzika,
18
Christov, op. dt.f p. 28.
Djudjev apparently refers to the conductor's beat, which, in fast tempo, he believes to correspond
18

to a measure of either 2/16 or 3/16. He bases his conclusions, as does Louis Laloy (Aristoxene de
Tarente et la musique de I'antiquite) on the distinction which Aristoxenus makes between xP OJf0i
wpovot (chronos protos, or temps premiers} and xpouot Troditjot (temps rhythmiques), the unit for
measuring time duration. Aristoxenus further divides time into double (Sio^^os) and triple

(rploTjfjiOs). In the opinion of Djudjev, Dobri Christov calls a group of two sixteenths
(
00 ) an

ordinary unit, and a group of three sixteenths ( ) JTJj

an elongated unit. But these units
cannot be used as measures of time duration, since they are not equal. Stoian Djudjev, Bulgarska
narodna horeografia (Sofia, 1945), p. 215.
22 Meter
quattro battute > and so on. Viewed in this light, Djudjev concludes, Bulgarian
meters would be easily understandable and there would be nothing irregular,
20
irrational, abnormal, or mysterious about them.
Vasil Stoin (1880-1939), who has compiled several of the most remarkable col-
lections of Bulgarian folk songs, believes that by far the most reasonable explana-
tion of the phenomenon of the elongated metric unit found in Bulgarian folk
music that Bulgarians naturally think in terms of phrases which are a combina-
is

tion of duple and triple meter. From the many examples in his Bulgarskata narodna
21
muzika, only four are given here (examples 15-18) to illustrate his point.

Example 15.

\^
& m\ & i
A I I

'-\
I I

I
i
i g?
^
f^
.a
di 8 <Q
::
P*
[
flf
rJ
-HMf f
f If I
-

Each measure of this example may be divided into two measures, 2 + 3, thus:

It is not difficult to see that in example 16 the pattern of 2/4 + 2/4 + 3/4 repeats
consistently to form a larger structure of 7/4. This pattern is consistent throughout
the entire melody. (See also example 170.)

Example 16.

etc.

In example 17 the scheme of a 2/4 measure inserted between two measures of

3/4, thus outlining a metric phrase of 8/4, is obvious. The entire melody, consisting
of twelve measures, is thus divided into four sections A,B,C, and D. Each section
consists of three measures each, 3 + 2 + 3.

Example 17.

A ,

M.M.J=120
m
2 f'f\
^
r
,Q,,

lir
.

?
Oide-v6i-ko sfrto me mo-rish, shtomivra-ta ne ot -
vo-rish,

D
n> l!?"'3_ K
: J
r ii r
oi de-voi-ko shto me mo-rish, shtomivra-ta ne ot - vo-rish?

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

21
Vasil Stoin, Bulgarskata narodna m&zika, pp. 12-18.
 Meter

the metric accents reveal the following scheme:

19,
Example
etc.

I I

indications show, are sung rather slowly.

metronome
Examples 15-18, as the
But let us suppose, Stoin continues, that they are sung much faster. Because of
the difficulty in following the various changes, the ear will be
forced to group the

different patterns. Just as 6/8 in rapid tempo becomes two groups of three eighth
notes each, so will the meters in the foregoing examples assume simpler forms. If
the melodies in examples 15, 16, 17, and 18 were sung twice as fast, the duple meter
would become one metric unit and the triple would become one and one-half, so
that the signatures would read 5/8, 7/8, 8/8, and 12/8, respectively. The quarter
note which was the basic unit of the measure would thus have been reduced by
half. If we continue this procedure still further, we may reduce the note value
will be the denominator which is most popular in Bulgarian
again, and the result
folk dances, the sixteenth note.
These three theories on the nature of the asymmetric meters in Bulgarian folk
music should be borne in mind while examining the music itself. It is also impor-
tant to realize that the already noted have resulted partially
from
complications
the dynamic rhythms of the poetic text in Bulgarian and Macedonian folk verse.
The language lends itself to irregular poetic scansions, and the relation of vocal
to one another is naturally reflected in the musical notation. This is of
syllables
course quite contrary to the prevalent Occidental practice, where metric structure
is a much more
is based on the whole note and divisions thereof. Measure, then,

fluid concept in Bulgaria, unity being

derived from the natural phraseology of
the text rather than from a unit built
rigidly superimposed
on division and multi-

plication. The music which we will discuss here is built by addition instead.

The principle of hemiolia, of lengthening the note value by one and one-half
times the original time unit, was known to the Greeks and used in their paeonic
meters. They borrowed this irrational relationship from their method of octave
fifth resulted from the relationship of
division, where the interval of the perfect
3:2, and so on. Thus, pitch and time relations were founded on the identical prin-
is no common term for such meters in Occidental
tonal theory.
ciple. There 22
Dr. Manfred Bukofzer has referred to such meters as "additive,"
which seems
an accurate and descriptive terminology. Bulgarian musicologists frequently call
them "Bulgarian" meters, since Bulgaria is the only European country where these
22
Statement made to the author by Dr. Bukofzer, Los Angeles, California, April, 1950.
24 Meter
23
metric and rhythmic forms are an integral part of a national art. Beia Bart6k,
in his Mikrokosmos, uses metrical combinations which he terms "Bulgarian"; he
is careful to avoid a numerator which is the sum of the total metric units per

measure, giving them instead in their additive form, as 2/8 + 2/8 + 2/8 + 3/8, 3/8 4-

3/8 + 2/8, and so on.

Not only are the problems of definitive descriptive phraseology involved, but

they are further complicated by the difficulties of accurate notation. In a much-

quoted statement, Alfred Korzybski has observed, "The map is not the territory
Nor, even under the most ideal conditions, do the notes on music
24
it represents."

paper represent the exact idea in the mind of the composer. When the folk song
is notated on paper, the several processes through which it must pass before it

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

2. Melodies with the elongated note at the beginning of the measure.

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

ELONGATED NOTE AT THE END OF THE MEASURE

*
The 5/16 ( p p ") serves as the metric pattern for one of Bulgaria's most

25
popular and spirited dances, the Paidushka. This dance is in 5/16

(
mm + SmS )
with the following additional groupings appearing frequently

within the measure: sP Jl 9 J~"J~i3 9

^ J^, /5 J)> J^ J^R . The third
sixteenth is heavily accented, giving the measure a feeling of 2/16 + 3/16. Among
23
Some of the dances of other Slavonic countries resemble certain Bulgarian dances in metric

formation. Thus the Czech Strashak Rhythmic pattern J J JJ )

is not very different from the

Bulgarian Ruchenitza pattern J J J J , nor are the dance steps dissimilar. The Polish

mazurka (rhythmic pattern ^ J7"^ | ^ J7""3 | /^ /^ f% | X II )

resembles the Bulgarian dance, the Paidushka:

lnfact,n,any

of the Chopin mazurkas are played with an elongated first or third quarter, thus almost achieving

asymmetric effects.

Alfred Korzybski, Science and Sanity (3d ed.; Lakeville, Conn., 1948), p. 58.
24

25
From the Old Slavic paiddm, "to limp." The dancers bencl their knees as if limping. The dance
figures usually demand five-measure phrases,
which are more often than not accompanied by singing
and clapping of hands.
 Meter 25
the many melodies to which the Paidushka is danced, Ot dolu ide ludata Idna

(Here Comes Silly lana) is one of the most widely known (example 20).

Example 20.

M.M. J= 400

Ot do-lu i - de lu - da-ta la -
ua, etc.

p x-y -^

The 5/16 in the Paidushka is a meter in which each measure consists of two

beats ( J) and ** ) ,
the second beat being elongated to equal one and one-half
times the first
(ratio of 2:3). Tunes which accompany the Paidushka are, for
choreographic reasons, made up of five-measure phrases. The melody in example
20 consists of four-measure phrases only; therefore, Dobri Christov has proposed
a two-measure extension between measures four and five.

Christov quotes the melody in 5/8 instead of in 5/16. In a moderate

tempo, quin-
tuple meter (as 2 -f 3) is found also in Turkish music, where it is called usul tiurk-
aksak.

During the first few years after liberation from the Turks, many of the musicians
prominent in the musical life of Bulgaria were imported from western Europe.
Collections of their notation betray a lack of understanding of the
principle of
hemiolia. The Paidushka has been notated in 3/8 frequently, as in example 21.
 Meter
26
Example 21.
etc.

20 on superficial
This version may appear similar to that in example
16
but the second notation does, nevertheless, change
a dactylic measure 2/16 + 3,
does not meet the choreographic demands.
3 r 24/8 into a tribrach, which
old ritual and religious
The 5/16 is also the metric signature for a great many
22 falls in the latter category.
songs, especially
Christmas carols. Example
26

22. Tebe peiem, chorbadzine (We Sing to You, Our Master).

Example

dzi-ne.
Sta-ni ni-ne, go-spo
- di-ne, te-be pe-iem, chor-ba-
use the identical metric pattern,
In different parts of the country, dances which
J>. = 70 ) and Kldteno horo
but in other tempos, are known as Zad-Krdk (

(NX =40). ,

The 5/8 in moderatetempo J -200) is used frequently, and does not differ
(

essentially from the 5/16 pattern, of which it seems to be an augmentation. The

difference between the two is in the number of accents contained within the meas-

ure: 5/16 has only two accents (H J*-)? whereas in 5/8 there are four stressed

units, one of which is twice as long as the others:

J^J^J^J J^J^J J^J^J J^J^orJ J^J^J^in each the quarter

note equals two eighth notes (J -

J^ ).
In 5/16, on the other hand, the rela-

tionship is 2:3
JX).
(
The percussion beats in the accompanying diagram
J\o
further illustrate the difference between the two meters.

Melody
5 J> J) J ^ ,
Jl j> J)
etc..
Bass drum 8,
LJ* LJL-T 'C-T C-JU"

Melody n. etc.
Bass drum 16

The 7/16 serves as a metric framework for Bulgaria's fa-

vorite national dance, the Ruchenitza* Virtually all metric variations are possible

within the measure: J> J> Jl

28
,
J> fl Jl , J~) & , fl /3 fft ,

Ivan Kamburov, Bulgarski narodni pesni (Sofia, 1940), p. 18.

27
From ruchenik, "a handkerchief." A solo dance or one executed by couples. It is accompanied
by joyous motions of hands and body. One of the dancer's hands is placed on the hips, while the
other waves a handkerchief. Thus, Ruchenitza, "a handkerchief dance."
 Meter 27
and so on. In all of them, 7/16 is a triple meter, with an elongated last unit which
receives the strongest accent in the measure. The melodies in this group ordinarily
consist of four-measure phrases.
There are a number of popular melodies to which the Ruchenitza is danced.
Example 23 is one of the favorites. The percussion instruments emphasize the first,
third, and fifth sixteenths of the measure, or the three distinct beats.

^ ^
]3 i-l-J > J I J

It is interesting to note that,

although the septuple meter with 2 + 2 + 3 grouping
is used in distant Oriental countries, it is totally unknown in the music of countries
28
contiguous to Bulgaria Yugoslavia, Greece, and Turkey. The Serbian composer
G. Marinkovich, for instance, gives the notation of the Bulgarian folk song / dz beh
ednd na mdika (I Too Was the Only Child of My Mother) 29 in 3/4 (example 24)
instead of in 7/16, as in example 25.

Example 24.

A ,
Lively

Example 25.

I az beh ed - na na mai - ka
The notation of example 24 displays a total disregard of the principle of hemiolia
and shows no awareness of Bulgarian rhythmic, metric, and linguistic peculiarities.
altogether incorrect to change a three-measure phrase into a phrase of two
It is

measures, because, first, the setting becomes entirely melogenic, that is, the melody
is treated independently of the words. The poetic stress falls on the adverb i, and
28
According to Dobri Christov, this is found in Russian
metric pattern songs of Tartar origin. He
also speculates on the possible Egyptian and Hindu origin of 7/16. Christov believes that the
Ruchenitza might have come to Bulgaria from the Orient through the Turkish -Tartar tribe which
came to the Balkans with Isperikh in the seventh century. Christov, op. tit., pp. 31-32,
29
This melody was taken from the collection by Franjo Saver RunaC, Sudslavische Volkslieder
(1885), pp. 30-31.
 Meter
the preposition na ("too" and "of"), hardly important enough to merit special

emphasis in the sentence, "I too was the only child of my mother." Even if the i
were misconstrued for its homonym, which means "and" (as it might easily be
misunderstood by those who are not intimately familiar with the language), the
emphasis would fall on the wrong syllable. The melody in example 25 follows
natural speech, with the stress falling thus:
u u u u %J
I az beh ed-nd na mai-ka.

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

so that the syllables will receive the two strong beats: ^sft J) J).

mai -
ka
But the first syllable requires a somewhat longer stress than the second, although
not necessarily a stronger one. And since in 7/16 the elongated third beat is accented
most, the logogenic solution is the inevitable one tying the first two eighth notes
of the measure in order to balance the poetic with the metric accents. The poetic

strophe consists of eight syllables, not 5 + 3 as example 24 indicates, but 3 + 3 + 2.

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

3/4 J J
-^
J U J
-
J N J J
I az beh ed - na na mai - ka
would at least partially have met the choreographic demands, where Marinkovich's
setting does not.
Dr. Peter Panoff does not come any closer to interpreting the Ruchenitza rhythm
30
authentically. Like Marinkovich and the Czech musicologist Ludvik Kuba, 31 Dr.
Panoff shows that he
is not
acquainted with additive meters as practiced in Oriental
music. Thus, in his study on Bulgarian rhythm and form, he has notated the
Ruchenitza in 3/8, as in example 26, instead of in 7/16 (example 27). Pan6ff's

Example 26.

etc.

Ot do - 1ft i - de ma -mo mom -che do - lin -

che,

Example 27.
etc.

s
study of Bulgarian folk music seems to lose some of its
authenticity in the face of
such obvious deviations from fact.
In some parts of the country this dance is known as Obiknovenna (ordinary)
80
Peter Pan6ff, "Die Altslavische Volks- und Kirchenmusik," Handbuch der Musikwissenschaft
(Wildpark-Potsdam, 1930). The melody was taken down apparently from records available at the
time at the Staatliches Phonographisches Archiv-Berlin.
81
Ludvik Kuba, Slovanstvo ve Svych Zpevech (Prague, n.d.).
 Meter 29
or Zenska (feminine) Ruchenitza. Other folk dances which
employ the same metric
schemes are Chepnitza, Povurnato horo, Vetrensko horo.
Not all melodies in 7/16 are dance settings; many religious folk songs bear this
time signature. The Christmas carol (example 28) is based on an old folk
legend.
Example 28. Samodiva grdd gradila (A Nymph Built a City). 32

Ruclienitza tempo

Ko - le - do le, Sa - mo - di - va grad gra

- di - la t

Ko - le - do le, Da-ne ba -
ne, Dan voi-vo -
da, Ko - le - do*

The 9/16 mm mm mm one of the most commonly used meters in

(
f*f ) is

Bulgarian music. (See example 29.) Its origin is undoubtedly Oriental. It is found
in Turkish music under the name aksak. 33 In a slow
tempo 9/16 serves as the metric
basis for the Kiuchek, danced by wandering gypsies.
The nine equal notes within the measure are not grouped as a
compound triple

pattern ( JjJ JjJ JJJ ) ?

but as 2 +2+2+ 3, which makes a measure of
four beats with an elongated last beat. The strong accent falls on seven, giving the

effect of 3/8 + 3/16: J j J JjJ ;

there are weaker accents on the first, third,

and fifth sixteenths. Other possible interpretations are 4/16 + 5/16

( /J /J Jd jJJ : and
4|/8 JjJj- ).

Example 29.

Background rhythm

Dance step

Conductor's beat Jf) J*) Ji

1234
The graphic presentation of the conductor's beat will further simplify the con-
cept of the subdivision which makes the 9/16 a measure of four or four and a half
beats rather than of either three or five. (Diagrams of conductor's beat are given

only where metric structures are unusual.)

82
Kamburov, op. cit., p. 39.
38
There are three types of aksak in Turkish music: agur aksak, orta aksak, and iurtik aksak
slow, moderate, and fast. Djudjev, Bulgarska narodna horeografia, pp. 262-263.
 Meter

*,*

The attempt to interpret 9/16 as a syncopated regular triple meter

J 3 J J* *s not accurate, since the dance demands four, instead of three,

1 3
^"2^
steps: J J J J . It is also logical to explain an unusual pattern like 4-|/8
through the principle governing alia breve; if 4/4 meter could be accelerated to
or two beats to the measure, and 6/8 to two beats to the measure, it is at least
,
(j;

possible that a measure of nine, similarly treated, would result in four and a half
beats.

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

Example 30.

Bo-li la-na be-lo gtir-lo, be-lo gur-lo med-jan gar-no.

Having failed to realize that each measure consists of nine rather than ten basic
time elements, Panoff proceeds to give an altogether inaccurate version of the folk
song, depriving it of all the charm,vitality, grace, and distinction which the au-
thentic asymmetric structure contributes to the
simple melody (example 31).
Example 31.

JI(T
 Meter 31
It will readily be seen that the notation in example 30 is as different from, and
inapplicable to, the actual folk song as it would be to consider the paeonically
conceived 9/16 as three groups of three. The confusion in the notation of example
30 is not uncommon. It must be remembered that there are many Bulgarian folk
songs that are notated in 5/8, in moderate tempo. That notation is not much differ-
ent from that of the Hymn to Apollo or from the notation of the Greek song in

example 32.

32. to St. Sofia

u
Example Song Minologa.
n

As in the famous Hymn to Apollo, the Scmg to $. Sofia Minologa contains four
syllables in each measure, rarely three or five. The difference between the Greek
and the Bulgarian quintuple meter lies in the position of the three eighth notes
which assume the role of an elongated unit. In Greek music that elongated note
may appear either at the beginning or at the end of the measure, but in Bulgarian
folk music it is generally at the end. Thus, 5/8 may easily be confused with 9/16:

The 9/16, then, differs from the 5/8 meter only in the last group, there being one
sixteenth less in 9/16 than in 5/8. And it is that one sixteenth which changes a
five-beatmeasure into a measure of four, or, to be exact, of four and one-half beats.
Dances in 9/16 are executed by two rows of dancers forming straight lines which
face each other, with the columns advancing and retreating as the dance steps

change, moving swiftly to the right at the end of each phrase. In tempo

M.M. H = 320 -420 the horo is known as Radomirska igrd, Tropliva igrd, Hoiisa.
,

5
In certain parts of the country it is called Ludoto, Povurnushka, Izrichdnka.*

The 11/16 J^ ^ ^ 4* J^ is
quite similar to the 9/16 meter of

the previous section; an additional group of two sixteenth notes is inserted before
the elongated unit. Such a combination is by no means theoretical; it is found in

many folk songs in Bulgaria and Macedonia, although it is less common than
another 11/16 pattern with different grouping. (See example 42.)
34
Dobri Christov, "Ritmichnite osnovi na narodnata ni muzika," Sbornik za narodni umotvorenia
i
narodnopis (Sofia),
Vol. XXVII (1913), p. 41.
35
Djudjev, Bulgarska narodna horeografia, p. 265.
 HF F r :
" :

j>
^

Each measure here consists of five beats, of which four are of equal value and
the last is one and one-half times longer. Again, the chief stress falls on the last
beat (the ninth sixteenth note), while the second, fourth, sixth, and eighth six-
teenths receive secondary accents. The remaining sixteenths are rhythmically
weak. The combination may be viewed as 2/16 + 2/16 + 2/16 -f 2/16 + 3/16 or as

$ $ / /'
The 13/16 meter
those treated thus far. It
y fLfbe
y y seems to
is one of the most
a combination of 4/8 4-5/16
fascinat-

ing of all

( j Jj J :
J J^ ^ k u t since the strong accent falls on the sixth rather

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

Example 34.

E
r
3^
Ma- ma, mi - la ma - mo, koi chu - ka na p6r
-
ti, etc.
(or: Tzo- ne mi - lo che - do, koi chu - ka na por -
ti.)

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

results in a measure of 7/8 J J _ J^ J w ^^ an i rr

^g u l ar grouping of

the last three notes which is

altogether foreign to Bulgarian music.

curiously enough, is not

found independently as a metric scheme for an entire song. In a few examples,

however, it is combined with other asymmetric groups, chiefly with 9/16. In all
instances the melodies begin with 15/16, and the 9/16 is of the type in which the
hemiolic unit appears at the end. (See example 35; notice the unusual treatment
of the paeon ic beat in measure four.)
 Meter 33
Example 35. Sung by Vata Matkova, 75; Tota Velkova, 60; Ignata Prokopova, 55; and
Mina Tzanova, 70; of Dolni-Lukovit, Orehovo, January, 1928. 38

Tfin ka pfisli-ka

in - ze - mi ia za - ram - chi ia .

The 15/16 may either appear only once, as in example 35, or it may alternate
with 9/16, as in example 36.

Example 36. Sung by Todora A. Ilieva, 45, of PrauMa, Belogradchik, September, 1926.
87
Notated by P. E, Stefanov.

za - ze - ni se Mar - ko pod - mo - raf - ko.

The 17/16 ( )
metric signature is
very
CS3 Ea cd Bl Ba sSs B3 Bsca
rare; in fact, theexample quoted is the only one that I have found in print. It
is taken from Vasil Stoin's Bulgarskata narodna muzika. The other Bulgarian
musicologists do not even mention this metric combination. The measure consists
of eight beats, the strongest emphasis being on the last one (example 37).

Example 37.

Ve-no le,
t
Ve-no ga-lie-na,
J> tOlJ*
Vd-no le, Ve-no ga-lie-na.
^
ELONGATED NOTE AT THE BEGINNING OF THE MEASURE

The 5/16 (
t ) pattern with the elongated note at the beginning is much
r~*m*m*mm

less common than the one given in the previous section, where the order of the
grouping was reversed. Here again the metric scheme results in duple meter, with

strong first and fourth sixteenths (example 38).

80
Stoin, Ot Timok do Vita, p. 897, No. 3369.
"Ibid., p. 186, No.80L
34 Meter
Example 38. Poshli devoiki na sechki (The Maidens Have Gone to Gather Firewood).
Sung by Maria Ivanova, 60, of Kladorub, Belogradchik, December, 1926. Notated by P. E.
38
Stefanov.

Lively

Posh-li
&
fc=E*

de -voi-ki na sech -
ki, etc.

The 7/16 ( i' m f p f 9 p) ; the metric framework of the Muzki ruchenik,

39

example 39, which, is

especially popular in Dobrudja.
Another interesting example

Example 39.

of the same meter is the song for rain (example 40).

Example 40. Sung by Gena Vluchkova, of Borovan, Bela-Slatina, December, 1927. 40

M.M.J ^-=50

Po li-va-di po gra-ma-di, dai Bo-e diish, dai Bo-ze dtish.

In western Macedonia, songs in 7/16 are performed in somewhat slower tempo,

possibly reflecting Albanian influence, since
such meters exist in Albanian music
but are executed only half as fast as in Bulgarian music. Frequently, melodies
which are in 7/16 meter are erroneously notated in 7/8. The adjustment is made
while setting the initial tempo; the results, therefore, are identical. This practice
is widely accepted in choral music, where it is believed that 7/8 is easier to read.
41
The Makedonsko horo with its lively steps and intricate figures is
among the
most graceful of all Balkan dances. Example 41 gives one of the many melodies
* 4
Example 41. Makedonsko horo.
M.M. 4^=240

etc.

88
Ibid., p. 54, No. 211.
88
is also known as MuZka Ruchenitza, a Ruchenitza for men.
The Muzki ruchenik Dobrudja is a
region in the northeastern part of the Balkan Peninsula, bounded on the east by the Black Sea, on
the north and west by the Danube. It has been a disputed area between Bulgaria and Rumania for
many years.
40
Ot Timok do Vita, p. 199, No.
Stoin, 859.
41
Macedonian national dance.
42
The national dances Mori shto mi tekna, Pileto mi pe, and Kovaddrche belong to the same
group.
 Meter 35
for that dance. Music written in septuple meter, asymmetrically grouped, is also
present in Turkish (usul devr-hindi) and in modern Greek folk music. However,

it is only in Bulgarian music that 7/16 with M.M. H S 400 is found.

The 11/16 Tm W fm Ip is a q uintu P le meter with only one

{T*
(

btrtrtrb note. In the Christmas carol

)

primary accent, which falls on the dotted eighth

(example 42) the second and third eighths are consistently connected for poetic
reasons; hence each measure contains only four syllables.
of Marashki-
Example 42. Nadpevat se (The Singing Contest). Sung by43Ivan Anchov, 56,
Trustenik, Pleven, March, 1928. Notated by P. E. Stefanov.

M.M. 360

Nad-pe - vat se do dva slaf-tza ko - le - do le.

This grouping of the 11/16 is much more common

than that described earlier.

(See example 33.)

Of the many dances in this meter, the better-known ones in

Bulgaria are Krivo horo, Haidushka igrd (Orhaniiska),

and Gdninata mdika. The
conductor's beat for this type of 11/16 is
expressed in a diagram in order to clarify
the grouping.

FIRST AND LAST NOTES ELONGATED

The 8/16 meter is handled in Bulgarian folk music in a

( J>f
I t'l'iiilil
fjp
CB
p'|
I "HI
f
I'ii'i'il"'"!
).

very unusual manner, quite different

from the treatment in Western music, where

here
a measure of 8/16 consists of merely two beats ( I I * rfrT )>
it: *s

a measure of three. Thus it forms a measure of triple time, 3 +2+ 3, with accents on
13
Stoin, Ot Timok do Vita, p. 30, No. 126.
36 Meter

the first and third beats J J' J This asymmetric grouping cannot and

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

4 =*
^2*. 4
JTT15r"JT71
=- 5*
i 2+3 4

not only because it is confusing in appearance and inaccurate in feeling, but also
because of the choreographic requirements, which, as in the 7/16 (examples 23, 25,
and 39), call for three steps. The only virtue which the syncopated version might
have is that it
displays a familiar time signature; otherwise the two are as dissimilar
as are 3/4 and 4/4. The pattern 2 4- 3 -f 3 is also possible.
Some theorists believe that melodies notated in
8/16 (3/16 + 2/16 + 3/16) are in
reality in septuple meter (3 4- 2 -f 2), as in examples 40 and 41. Although a melody
in 7/16 may easily be converted into 8/16 by merely the last elongating eighth
note, and although occasionally the same song may appear in both forms, the
grouping 3 + 2 + 3 is at least as frequent as 3 + 2 + 2. The diagram of the conductor's
beat is especially helpful in illustrating the subdivision of an 8/16 measure, as it
makes clear the triple grouping, with indications on the manner in which it
may
be conducted.
>,/,*

A measure in 10/16
(
i*
)
consists of ten sixteenth notes

of equal value,
grouped with an elongated eighth note at each end; thus the sub-
The strong accents are on the dotted first and last
division results in four beats.

eighth notes; the weaker, on the second and third. A measure of 10/16 so con-
structed may easily be subdivided into two measures of
5/16 with the second

repeating the measure in rhythmic retrogression: J J J

first ** J"3~J j3 j ||

The melody in
43 is taken from Vasil
example Stoin's Bulgarskata narodna
muzika, and was quoted from an unpublished collection of Dobri Christov.
 Meter 37
Example 43.

j).

The 12/16 ( ) pattern is similar to the one above,

with one more group of two sixteenths in the middle. As the measure is rather
complex rhythmically, the singers usually have some percussion, such as the tam-
bourine, accent the background rhythm. A measure of 12/16 consists of five beats,
the first and last beats having the strong accents.
The measure is readily subdivisible into two groups (7/16 + 5/16), as example 44
Example 44. Eleno mome (Elena, Young Maiden).

Ne ga-zi tre-va le-na, ne gra-zi tre-va ze le-na.

(se-no) (le -no) (se-no) (le-no)
illustrates. Each measure consists of two patterns 7/16 (3/16 + 2/16 + 2/16),
grouped example 39, and 5/16 (2/16 + 3/16), as in example 22. A dance figure
as in
in this instance consists of six dance motifs, three in 7/16 and three in 5/16 repeated,
so that the complete periods consist of twelve simple dance motifs in all.

ELONGATED NOTE WITHIN THE MEASURE

The 9/16 ( This uneven formation of 9/16 is similar

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

3,4,$
In example 45 it is the second, paeonic beat that has the strongest accent.
44
Example 45. Sung by Gena Vasileva, 25, of Tolovitza, Belogradchik, February, 1927.

Zao-bla-g-a-la se E- leu- ka, che shte mo-*e -to pre-plu-va,

zao-bla-ga-la se E - len - ka y che shte, mo-re -to pre-plu - va.

Zaoblagala se Etenka Elenka had made a bet

Che shte moreto prepluva^ That she would swim the ocean**
Za de-vet pola zultitzi For nine bags of gold coins
Darove da si napravi, So that she could earn a dowry,
Ta mlada da se o2e"ni, i t.n. So that she could marry young, etc.

On rare occasions the two types of 9/1 6 (

J J> J> JX and P Jt J> P) are
used in the same folk melody, with very unexpected and graceful results (example
46).

Example 46. Sung by Nena P. Nachova, 50; and Raina N. Ivanova, 40; of Rakita, Lukovit,
4'
February, 1928.

^^ ro

r/J' P
Trug-na-la chu-ma da mo - ri po se-lai po gra-do
-
ve,

o - di - la elm - ma mo - ri - la.

"I&iU,p.807,No.3020.
45
The italicized lines repeat.
46
Stoin, Ot Timok do Vita, p. 351, No. 1439.
 Meter 39

The 11/16 This grouping is more frequent

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

not symmetric (4 + 3 + 4), as one might expect, but rather 7/16 (as in example 23)
and an ordinary subdivision of 4/16:

11/16: (2/16 + 2/164- /l6)

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

There is only one strong accent, which comes on the elongated third beat. The
dances for which 11/16 provides a metric frame recur throughout Bulgaria under
different names.
The dance given in example 47 is popular in the vicinity of historic Panagiur-
ishte, in the Sredna Gora mountains, midway between Sofia and Plovdiv. This is
an important cultural center, and stands as a symbol of liberty in Bulgarian his-
tory. At Oborishte, in the near-by oak forest, the first shot of the April Rebellion
was fired. (This uprising is also known as the Rising of 1876, or the Rebellion of
Panagiurishte.)

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

M.M. J>= 340-380

The 13/16 (
So unusual is this metric pat-

tern that for some time authorities doubted whether examples existed in Bulgarian
folk music. However, in recent collections the grouping appears (example 48) as
a sextuple meter with a strong accent on the second beat (third sixteenth note).
47
Djudjev, Bulgarska narodna horeografia, p. 274.
4o Meter
Example 48. Sung by Mladen Kartalev, 34, of Berkovltza, October, 1927. Notated by P. E.
48
Stefanov.

Ac.i
.M.

Do-ma - ki - nu
m
domdoi-do-mo, do-ma-ki - tm ne nai-do-mo

MORE THAN ONE IRREGULARLY DISTRIBUTED ELONGATED

NOTE WITHIN THE MEASURE

The 10/16 (
This is a quadruple measure, with
ea
accents on the first two elongated beats (example 49).

Example 49. Sung by Nikola Dimitrov, 76, of Komarevo, Pleven, March, 1928. Notated by
48
P. E. Stefanov.

M.M. s 360

Iz - iaz - dil e do - bur iu -

nak,
m ko - le - do le

The 12/16 may appear in two other forms besides the one in example 44:

Example 50
Example 51

A measure of the former classification is obviously neither a compound quad-

ruple (3 + 3 + 3 + 3) nor a compound triple meter (4 + 4 + 4). It is, instead, a measure
of five beats, the second and last beats being hemiolic. The additive form, therefore,
is 12/16:
(2 + 3 + 2 + 2 + 3). One measure thus derived may be subdivided into two
smaller groups, one of 5/16: (2 + 3), as in example 22, and another of 7/16:
(2 + 2 + 3), as in example 23. There is only one accented beat in each 5/16 and 7/16;
therefore, a measure of 12/16 meter, being a sum of these two, would have only
two accented beats, the second and the last. The five beats of which a measure
of 12/16 in this category consists may be presented graphically as 5:2(2+3) +

3(2+ 2 + 3).
In example 50 the complex structure is a direct result of the poetic text. The
verb sedna, "sat down," and the noun momche, "young man/' may be pronounced
with the accent on either the first or the last syllable,
depending on the regional
dialects. Since this song comes from the northwestern part of the country (city of
48
Stoin, Ot Timok do Vita, p. 5, No. 23.
46
Ibid., p. 10, No. 47.
 Meter 41
Ferdinand), the accent, as in literary Bulgarian, falls on the second syllable of both
words, thus making the paeonic scheme necessary.

Example 50. Sednd momche da vechera (A Lad Sat Down to Dinner).

Sung by young
maidens of Notated by P. E. Stefanov. 50
Vidlitza, Ferdinand, October, 1927.

M.M.P=:

Sed-na
p mom -che da ve - che

sed - na mom-che da ve - che ra.

Sedna momch^ da veche*ra, A young lad sat down to dinner,

Da vechera mrena riba, A dinner of fresh salmon,
Mre"na riba morunova. Then all of a sudden
Pa se setl za momite, Remembered the party,
Za momite na sednkia. A gathering of beautiful maidens.
Pa si stegna vrano konche He saddled his horse swiftly
Pa mu turna sedlo srebr6, With his saddle made of silver,
Sedlo srebro, iuzda zvezdi, Grasped the reins that shone like bright stars
Pa ukachi vrano k6nche. And rode off into the dark.

Pa otide pri momite, To the party he rode swiftly,

Pri momite na sed^nkia, To the party of young maidens,
Ta si r^che: "dobur v^cher, Where he called, "Good evening to you,
D6bur v^cher, malki momi." Good evening, young and pretty girls."
"Dal Bogdobrd, mMdo momch." "May God bless you," they replied.
This love song (example 50) relates colorfully an ordinary event in the village,
from the male point of view in this instance. The first stanza immediately focuses
the attention of the listener on the forthcoming sedenka (party, working bee) which
he considers important enough to forego his delicious "dinner of salmon, dinner
of codfish," as the original reports. The action is accelerated in the second stanza,
but when he arrives at the party nothing startling or dramatic happens. After the
suspense of a hurried departure, he merely greets the young ladies, in reply to
which they utter "May God bless you." The understatement here is most effective;
behind it lies the thought that the lad is well thought of by the young ladies of the
community and that he is joyously received in the gathering. The song implies an
entire evening of song, laughter, and gaiety, worth many times the sacrifice of his
fine dinner.
The distribution of the hemiolic beats within the measure in the second type of

12/16 meter reverses the order of the subdivisions: thus 7/16: (2 + 2 n- 3) is followed

by 5/16: (2 3), and the five beats may be subdivided into 3 + 2. The stress falls on
-f

the third and fifth beats (See example 51; notice the unusual treatment of the first
elongated beat in measure six.)
80
J&tU, p. 448, No. 1758.
42 Meter
Example 5L Played by Tzeno Dinolov, 67; Nashko Pervulov, 56; and Marin K. Tutzov,
44; all of Novo-Selo, Vidin, September, 1926. 51

HOC. A 460

The 14/16 appears in two groupings:

Examples 52 and 53 illustrate these sextuple combinations. Each measure in

Example
52
52. Koi ti
kupi? (Who Bought You the Pretty Present?). From Tzar-Petrovo,
Ktila.

M.M. J's 304

Koi ti ku-pi Ve-lo svi-le - no ba-ri -

shche, svi-le
- no ba-ri-shche.

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

53. Alt
E53
1
E"

2345
TI
'
C3

kdnche vodi (AH Leads His Horse). 58

BBJ B3 f
*

6
**

Example
M.M. J^r 304

A-li kon-che vo-di

^
\i

iz rav-ni dvo-ro-ve, iz rav-ni dvo-ro-ve

The subdivision in this instance is in reverse order, 9/16 + 5/16 instead of

5/16 +
9/16 as in example 52. In example 53 the fourth and the last beats are accented.
The 19/16 is a much more complex meter than any thus far discussed. As in
Hindu music, where a vibagha (metric pattern of an entire period) consists of
several angas, so in Bulgarian folk music a measure of
19/16 constitutes a musical
sentence consisting of three smaller groups of 7/16, 3/16, and
9/16. The last group,
of the variety discussed in connection with
example 31, may further be subdivided
51
Ibid., p. 1088, No. 4075. The horo Gdnchitze is danced to this melody also.
52
Stoin, Bulgarskata narodna muzika, p. 29, No. 35.
54
Ibid., p. 30, No. 36.
 Meter 43
into 2/8 (2/16 + 2/16) and 5/16 (2/16 + 3/16). A measure of 19/16 sets a complete
strophe of the text (example 54).
Example 54. Kiten Dever (The Adorned Brother-in-Law). Sung by Arso Nestorov, of
5*
Dzeraienitza, Debur.

Vivo .i&ft,

"Ki - ten ml ki-ten de - ve -

re,

koi mi te tol-ko na-ki -

ti, ta mi te tu-ka do-pra - ti

112

u na-she se-lo za mo - ma? u na-she se-lo za mo - ma?'*

The tune in example 54, known also as Deversko horo (brother-in-law's dance),
is
especially popular in Macedonia.
The ballad describes a local wedding custom.
The brother of the prospective groom calls on the bride-to-be before the wedding
ceremonies and brings her presents. Often this visit is the first official news of the
romance, which might have been kept a secret for many months. Even if the girl
happens to live in another village a few kilometers away, the emissary covers the
distance afoot. In Bulgaria, walking has been the favorite mode of transportation

for centuries.
"Kiten mi kiten devere, "Who has adorned you so lovely,
Koi mi te tolko nakiti, Adorned you, deverche, with flowers,
Ta mi te tuka doprati And sent you to choose a young bride
tr ndshe selo za moma?" Among our village maidens?"

D^verche veli gov6ri: "Maidens, maidens, young and pretty/

"Dev6ike mori, dev6ike, Deverche replied a-blushing,
Imam si sstra p6-mala, "I have at home a younger sister,
Ona me tolku nakiti." It is she who did adorn me."

Devolki velat govoriat: Said the maidens to young dever,

"Kiten mi kiten devere, "Dever, young man, adorned dever,
AH si bilo u g6ra, As you crossed the shady forest,
Nabral li si g6rsko tzve*ke, Did you pick some forest flowers?

"G6rsko tzv^ke, zel<n zdrivetz? "Forest flowers, fresh geraniums?

ftvil li si vito v^nche, Did you make a wreath of flowers
Vito ve*nche na snaitza, For your brother's chosen beauty
Snaitza da si nakitish?" To wear on her dark hair?"

D^verche v^li gov6ri: "Maidens, maidens, young and pretty,'

"Ta 6dil sum, mali m6mi, Deverche replied a-smiling,
G6re v gora, mali m6mi, "Yes, I crossed the forest, maidens,
Ta nabril sum gorsko tzve*ke, And I picked some forest flowers,
54
losif Cheshmedjiev, Bulgarski Makedonski pesni (Sofia, 1926), pp. 32-33.
44 Meter
"Gorsko tzve"ke, zele"n zdravetz, "Forest flowers, fresh geraniums,
Ta uvil sum vito venche, And I made a wreath of flowers
Vito venche na snaitza, Formy brother's chosen beauty
Da nakiti moia snaa." To wear on her dark hair."

COMBINATIONS OF DIFFERENT ASYMMETRIC MEASURES

Of the -many varieties, a few of those that are most typical and
only interesting are
The various metric combinations thus obtained are
given here (examples 55-58).
of Bela-
Example 55. Da sum zndila (Had I Known). Sung by Tzeno Lilov Begovetza,
Slatina, December, 1927 .*

.rt:

- che shte se s li-be sa-be -

Dasumzna-i-la s
zna-i la, ra,

che da-lek da sum be-g^a -la na sa-bergo-ra ze-le - na.

Example 56. Pod drena (Under the Dogwood Tree). Sung by Mladenka Vankova, of
59
Izvor, Vidin, March, 1926. Notated by Ivan Kamburov.

M.ML J\ 320

jKl T f
' ""* U f '' ""^
Laaaj
^~^ " ~^ ~
Pod dre-na ter-zi - i se-dut, b ei ol-mish
t dul-mish, etc.

ft Ji J> |
Ji J> Ji | Jr-Jr-jr | J\ J> Ji
j,

57. Sung by lordana Vurbanova, 20, of Beli-Mel, Ferdinand, October, 1927.

Example 57
Notated by P. E. Stefanov.

t I
f
Tor - ba strun kia ma

: >'
J f f
o - li - zan klutz-niak drun-dar -
ski, . - - be.

Example 58. Zadulzd Stoidn (Stoian Was in Debt). From Krusta, Lukovit.58

A M.M.J1304

Za-dul-2a Sto-ian za-bor-chlia, pet-de-se i pet i-lia-di.

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

55

.Ql^No. 3435.

58
Stoin, Bulgarskata narodna muzika, p. 74, No. 184.
 Meter 45
due to the variety of dance steps and figures, or, when those songs are not derived
from dance motifs, they are grouped in these unique patterns because of the lyrics.
The preceding illustrations demonstrate how painstakingly accurate the Bul-
garian and Macedonian folk have been in adapting the music to the metric require-
ments of either lyrics or dance steps. For that reason it might seem desirable to
notate many of these songs as one measure for each phrase. The metric signatures
thus obtained (and there are examples of each) would be most extraordinary:
18/16, 20/16, 21/16, 23/16, 29/16, and others.
Most of these meters seern strange, and for an Occidental musician they are. But
they are not so strange today as they were before the turn of the century. Stravinsky,
Schonberg, Bartok, and others have made it possible for most musicians to admit
new metric and rhythmic groupings into the vocabulary of daily experience.
Unlike his colleague of one hundred years ago, the twentieth-century composer
has adopted various technical devices which present certain problems Milhaud
in polytonality, Schonberg in the manipulation of his own passacaglia-like Reihe,
Scriabine with chords built on fourths, Debussy with strange scales he learned in
Russia.
Schonberg and Strauss introduced and developed complexity of rhythm, fore-
shadowed by the restlessness of Brahms' syncopation. Stravinsky set the musical
world on fire almost half a century ago and the smoke has not yet cleared. He
introduced, among other things, varied rhythms and meters which gave his music
an exotic quality, a quality perhaps not all his own but inspired by Russian
folklore and the works of Moussorgsky and Rimsky-Korsakov.
Milhaud, Stravinsky, Bart6k, Britten, and their contemporaries no longer con-
sider the bar line as a solid stone wall over which one must climb, to land heavily
on both feet on the other side. They have worked in a new direction, toward
rhythmic virtuosity. But there remains a wide range of metric and rhythmic devices
to be explored. The alien metric patterns in the works of these composers are

usually short-lived within the entire structure of a given composition, but the fact
that contemporary composers have been reaching toward new and experimental

usages of rhythm is in itself significant.

In Le Sacre du print emps [score no. 41] Stravinsky has used 9/8 as an asymmetric
structure, first as 4/8 + 5/8 and then as 5/8 + 4/8.

I J J J J J IS-t- J J J J J - .etc.

In Jen de cartes the paeonic conception of a septuple meter is

expressed in two

ways: 3/4, 3/8 (two measures before 10); and 7/8 Jj Jj JJjl
(two
measures after II), with instructions in the score: battre a 3. In the same work, two
measures before 11, we find the two asymmetric measures in succession.

in
These two measures
battre
nm\*n n n
a3
'
y battre a 4
m
are obviously based on metric patterns which are identical
with those in examples 23 and 31, as the last three eighths in each measure are not

triplets.
46 Meter
For the "Third Negro Dance" in his Legend of Joseph, Richard Strauss accom-

plishes the additive septuple feeling by breaking down a 7/4 measure into two
measures with different metric signatures, composing his musical sentence of two-
measured phrases:

*! ,
i
J J
_ H J
J. i
|J
i
J
_|J
J J
i
|
etc.

In Tz'ZZ Eulenspiegels lustige Streiche (main subject), he again achieves an asym-

metric septuple formation, or a triple effect with a duple meter, through syncopa-
tion.

g 7 n -h
j^ji /i JT3jy> etc.

This passage would, however, be much clearer if notated in 7/16.

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

J JTT3J
Ernesto Halffter simply follows a 4/4 measure with a 3/8 in his Sinfonietta.
J J

The score of Stravinsky's Dumbarton Oaks Concerto includes a similar treatment:

o
a
'
/H \3 ffi lo
and later o J=3 :/3
ID
:
J3 j/79
the latter with instructions for the measure to be performed "in four."
In the Sonata for Flute, Oboe, Clarinet, and Piano, Darius Milhaud used a direct
approach four and a half beats: i**.
Bassline 4 .H <T3
In his Airplane Sonata, George Antheil uses asymmetric rhythms throughout the
movement. He indicates that the measure of 3/8 which follows a measure of
first

1/4 in the opening is not a triplet. Then follow such metric changes as 6/4, 7/8,
9/8, 5/8, 4/8, 3/8; and later, 19/8 (4 + 2 + 5 + 5 + 3), 8/8 (1 + 2 + 3 + 2), 10/8
+ 4 + 6), 16/8, 12/8, and so on, in a perfectly coherent metric
(3 + 2 + 3 + 2), 14/8 (4

sequence which makes the entire movement of this sonata as logical as it is free.
At the tempo indicated, as fast as possible, the eighth notes have the time value of
sixteenths, making the signatures no different than those discussed previously in
this chapter.
Thechorale in Virgil Thomson's Sonata da chiesa,
among others, makes use of
5/4, 7/4, 9/4, and 10/4, but, as in Antheil's piano sonata, no one metric pattern is
sufficiently established. This is true also of Elliott Carter's Piano Sonata and Sonata
for Violoncello and Piano, and Aaron Copland's Piano Sonata and El Salon Mexico.
One of the most effective uses of asymmetric meter in music is contemporary
the round, "Old Joe has gone fishing," from Benjamin Britten's Peter Grimes, The
metric signature is 7/4, but with an indication that be interpreted as triple meter
it

( J -f d + tJ
), M.M. J = 266, The feeling of three and a half beats per
 Meter 47
measure in not possible to divide seven by two
this instance is inevitable, as it is

in any other way. Any attempt to conduct this round in seven at the indicated
metronome marking seems absurd.
As the ideas of the modern artist gradually become more complex, so must his
tools change. Meter should take its place with the fast-advancing concepts of
interval and tone relationships, form, and color. If the accepted idea of mensural
notation must give way to a pattern or patterns which are the result of newer
logic, then the freedom and flexibility of the asymmetric metric patterns presented
here well serve as a starting point. The composer of today should seek new
may
deviceswhich will best serve his purposes rather than limit his expression by pre-
determined devices that may have outlived their usefulness.
Some professional musicians contend that metric schemes such as those quoted
from contemporary music are abstractions, that they are unnatural and worked
out on paper mathematically, and therefore serve no special function, tending to
detract from rather than add to the music. The Bulgarian folk singer does not
achieve his complex metric signatures through any process of abstraction; his
asymmetric meters and rhythms are, on the contrary, quite natural and functional.
Not only are they natural, they are an inevitable method of setting his folk poetry
and accompanying his dances. The musician, therefore, with far wider musical
experience than the peasant, should have no insurmountable difficulty in assimi-
lating the unlimited riches of these new metric possibilities. An open mind, in
fact, is the only prerequisite.

UNMEASURED METERS
Many colorful Bulgarian folk songs cannot be represented by any of the metric
devices hitherto mentioned. Their construction, like their interpretation, is alto-

gether free; hence they are best suited to solo rather than to group rendition.
This
category is made
up chiefly of iunak (hero) songs, harvest songs, and songs sung at

the dinner table, dealing with food, hospitality, and related subjects.
The melodies move within a limited ambitus,, often repeat one degree of the
scale, and usually are highly decorated. Syllables which are not a part of the text
are frequently added either at the beginning or at the end of the musical phrase
or within the period.
The folk tune in example 59 belongs to a large group of harvest songs sung in
Example 59. Harvest song. Sung by lordana Antonova, Maria Shaitanova, Vanka Popova,
59
Maria Dimitrova, and Maria Toneva, of Iad2ii, Svishtov.

r "~'
Ma-ri E - 16 no, trug-na-la mi e E- le - na.

the evening. Rich ornamentation is characteristic of such work songs.

Not all melodies of Bulgarian folk songs are short. A
good many make use of
brief melodic fragments that repeat with each stanza (examples 119, 133, 163, 183,
59
Stoin, Narodni pesni ot Sredna Severna Bulgaria, p. 147, No. 370.
48 Meter
185), but many melodies set an entire poem. The hero song In example 60 Illustrates
this point.

Example 60. lunak song. 60

M.M. <A 24O

Hei! Su-bra-li mi sa, pri-bra-ii dor se-dem-

de - set in - na - ka ? dor se-dem-de - set i se -

na I - rin Pi - rin pla- ni -

na;'

na I - rin Pi - rin pla-ni -

na, na hai-dush-ka- ta ra-vni-

be - she voi-vo - da.

There was a meeting

Of all seventy iunaksy
All seventy-seven.
The meeting place was in
The Pirin Mountains,
The heiduk plateau in
The Pirin Mountains.
Dakoi was their leader.

As in example 60, so In example 61, the song is introduced by a melodic frag-

ment which does not belong to the melody itself. The length and character of
such exclamatory passages vary with the individual performer and are seldom
standard even with the same singer. Frequently, as in example 61, the introductory
fragment is closely related to the melody. (See also examples 62, 69, 73, 89, 176.)
^Raina D. Katzarova, "Dneshnoto sustoianie na epichnia recitativ v Bulgaria/' Izvestia na
narodnia etnografski mtizei v Sofia,, typescript.
 Meter 49
Example 61. Song at the dinner table.

M.M. *Fz32Q
(CS ^gN

Za-tru-dil sa e sam Gos -

pot,

- tru dil Gos -

pot, za -
pra - vil

tri kvi, tri mo na - sti - ra.

Zatruclil sa e sam Gospot, The Lord himself worked against odds,

Zatrudil sa e, zapravil Worked against odds and erected
Tri tziirkvi, tri monastira. Three churches, three monasteries.
Nito na zemia zapravil, He did not build them on earth,
Nito na nebo zaprdvil Nor did he build them in heaven-
MeMu dva sini 6blaka. He built them between two blue clouds.

COMBINATIONS OF REGULAR, ASYMMETRIC, AND

UNMEASURED METERS
The possible combinations of regular with asymmetric meters are mathematically
infinite. Only a certain number of these combinations, however, have been re-
corded. Among them are songs in 2/4 and 7/16; 2/4 and 9/16; 3/4 and 5/4 and 2/4;
3/4 and 5/4 and 4/4; 4/4 and 5/4; 4/4 and 3/4 and 5/4; 4/4 and 5/8; 4/4 and 9/16
and 5/16; 6/4 and 2/4 and 5/4; 5/16 and 2/4.
The melodies in either asymmetric or regular meters which include unmeasured
phrases are numerous. Most of the unmeasured phrases result from exclamations
such as i, o f ay, hey, which are not part of the text and which may dwell on one
degree of the scale or spread over a melismatic passage embracing many notes.
More interesting are the folk songs which set an actual poetic text, but, musically,
include unmeasured sections within a melody which otherwise follows a definite
metric scheme, asymmetric or regular. Such unmeasured fragments may appear at
the beginning or at the end of the musical sentence; they may occur one or more
times. Inexample 62 the unmeasured section occurs twice.
Example 62. Mdmi Stoidnu dumashe (Mother Told Stoian). Sung by Petko Tzenov, 61
of
Razgrad-Mahala, Lorn, December, 1926. Notated by Christo Iliev.

400

Ma -mi Sto
*

-
imp ia-nu du-ma she:
'
IMP
sin-ko Sto-e -ne,

Sto-e ne, ia e - la ma-ma da te pre-me-ni,

1
Stoin, Ot Timok do Vita, p. 826, No. 3080.
 Meter
senza mesura

pre-me-ni ma-ma na-gla - si vuv ba-shti - - na ti

tempo

^P ^
pre me- -
na, che sa e chu - lo prochu - lo

ft Lf
^
V
zla bo-lest, zla clier - na chu -
ma, ta mo- ri, sin- ko,

ta tri - e se mla-di, se ka to te -

senza mesura tempo

se na a - le- ni fe - so - ve.

The tendency combine unmeasured phrases

is to chiefly with asymmetric meters.
Frequently, such unmeasured insertions include a rest, a fermata, or occasionally
a note of indefinite pitch. Their position in the song often seems to be improvised
and their duration, especially if on a vowel, is rather free.
Of the measured folk songs examined, 34 per cent are in asymmetric meters,
19 per cent in regular meters (see p. 20 for detailed statistics on distribution within
this group), and 47 per cent in various combinations of unmeasured groups with
asymmetric and regular meters.
Among the asymmetric meters, the 7/16 signature appears to be most frequent
20.3 per cent (18.5 per cent of the 2 + 2 + 3 type and 1.8 per cent of the 3 + 2 + 2). In
other meters, 19 per cent are in 5/16, 13.7 per cent in 9/16 (11.6 per cent of the
2 + 2 + 2 + 3 type, 1.8 per cent of the 2+3 + 2 + 2 type, and 0.3 per cent combining
both), and 11.5 per cent are in 8/16.
The remaining 35.5 per cent is distributed as follows:
Meter Per cent Meter Per cent
5/8 . 7.7 12/16 . . . . . . 0.8
9/8 . 2.8 13/16 . 1.5

10/16 . 0.2 14/16 . 1.5

11/16 ( . 1.6 Combinations of

11/16 (2 + 2 + 2 + 3 + 2) . 0.9 asymmetric meters 18.5
 CHAPTER FOUR

MEL ODY

*HE MELODY of Bulgarian folk song is in general as simple as the ideas

expressed in the folk poetry for which it provides a setting. It is thus a synthesis
of the varied emotions which have gone into the saga of a people. There are under-
tones of melancholy even in the most lilting of songs, and one always finds the
mystic qualities which are typical of the devout peasant.
Like the music of ancient nations, like Gregorian chant, and like all true folk
songs, the folk songs of Bulgaria are unisonal. Such monodic music is perfectly
self-sufficient and is without harmonic implications. It achieves its artistic aims of
tension and climax through intervallic, rhythmic, and formal means. It might,
therefore, often be considered to be on a more advanced level artistically than
the melodic fragments of the Occident, where the pure line must be aided by
harmonic colors, frequently of the most complex nature, in order to transmit an
idea.
In the simplicity of external architecture, in the frequent use of free rhythms
and the limited ambitus, Bulgarian folk songs are no different from the folk tunes
of many other lands. The details of tonal and metric structure, however, are
unique.
Just as the notated song is only an approximation of the sung version from the
point of view of meter, so does the written melody differ in pitch from the actual
notes of the folk singer. Therefore, any study made on the basis of published col-
lections alone must of necessity make allowance for the accuracy of transcription
as well as of notation. My own experience has included recording on disk and tape
as well as notating folk tunesfrom peasant singers and instrumentalists. Even that
procedure is from being foolproof, although it has seemed to me a reliable
far
method on which to base conclusions. The difficulties which I have encountered
arise mainly from three sources: Bulgarian folk musicians do not use the tempered
scale; the instruments which they use are not constructed to give accurate inter-
vallic relationship; and, since the folk singer is somewhat nervous and excited
when performing for a collector, his voice frequently loses its exactness.
Whether intervals smaller than the semitone, which have been observed in Bul-
garian folk music, are a result of mechanical imperfections or other external con-
52 Melody
ditions, or whether they stem from Oriental influence, is not easy to determine. It
1
is not too far-fetched to suppose that such intervals are indigenous,

SCALES
The study of primitive music has always been difficult. In Bulgarian music, as in
allother music termed exotic, the complexity is especially apparent, since discus-
sion of musical thinking divergent from our own must be presented in an exoteric
manner and in familiar terms. Together with meter and rhythm, scales represent
one of the important factors that must be carefully considered if the picture of
Bulgarian tonal art is to be complete.
numerous, and it may be demonstrated that they are a
Bulgaria's scales are
fusion of Eastern and Western musical influences. Thus the three main sources
from which Bulgarian music has drawn are, first, Oriental scales; second, church
modes: the osmogldsie (eight-mode singing) of Eastern Orthodoxy, and the medi-
eval modes; third, the conventional scales of western Europe (only toward the end
of the nineteenth century). It is of course not always possible to trace a given folk

song directly to one of these three sources, since more than one influence may be
present. There are many scales which do not fall into any of the three groups.

ORIENTAL SCALES

Among the scales which have come to the Balkans from Asia, the pentatonic is

one of the most widely used in Bulgaria. Whether it came from China or Japan,
as Dobri Christov suggests/ or from the music of the Tartars, on the feasibility of
3
which another competent Bulgarian musicologist, Raina Katzarova, speculates, it
is not
possible to say. Since the five-toned scale is typical of the music of many
primitive peoples, it
might easily be that the pentatonic scales in Bulgaria are a
local phenomenon, entirely free from Asiatic influence.
The term "pentatonic" as applied here does not refer to the scale which sup-
posedly is
widely employed in Scotch music and can be played on the five black
keys of the piano. It is rather
implied to mean any scale which is limited to five
tones, with no predetermined internal relationships. Example 63 gives several such
types found in Bulgarian folk songs. Some make use of the augmented second;
others contain intervals smaller than a half tone.
1
Dobri Christov points out that, although the half-sharped B in ABCD typical of the Arabic
buselik, the half -flatted D in ABCD and the half-flatted B in ABCD of the uschak are
of the sebaa,
all to be found in Bulgarian national music, they do not necessarily have to be traced to Arabic

origin. The folk hears such small intervals in everyday life and imitates them: the steam escaping
from a simmering kettle and the whistling sounds of the dying embers of green wood, which
frequently have definite melodic contours very similar to the drawn-out, sad melodies of the gdida.
Christov, Technicheskia stroez (Sofia, 1928), pp. 44-45.
. . .

8 1
Raina D. Katzarova, "Ugurchinska pentatonika/ Izvestia na narodnia etnografski muzei v Sofia,
Vol. XIV (1948).
 Melody

c/

1.

M O 41 <

k. 1.

m. 0.

^1 ^_

" 1?i

t. u.

Many more pentatonic formations are possible. Nicolas Slonimsky gives forty-
4
eight, and
that by no means exhausts the possibilities. Helmholtz also gives an
impressive list of pentatonic scales, many coming
from China, Mongolia, Java,
Sumatra, Hudson's New Guinea,
Bay, New Caledonia, and from the music of
3
Gullah Negroes. In his System of Musical Composition Joseph Schillinger suggests
methods for obtaining an almost unlimited number of pitch scales.
Some theorists believe that all pentatonic scales are incomplete forms of seven-
6
tone scales, and have called them "gapped" or "transilient." The possibility of
scales with less than seven notes is excluded. I believe that in countries such as
musical theory, scales limited
Bulgaria, before the establishment of any standard
to three, four, five, and six tones existed independently and that there are no gaps
in such scales, as the notes necessary to complete the octave were never there. Thus,

example 64 is built on a four-note scale, G-B^-C-D,

and not necessarily on a penta-
tonic scale with a missing F on top, as Raina Katzarova suggests in her study
"Ogurchinska pentatonika."
4
Nicolas Slonimsky, Thesaurus of Scales and Melodic Patterns (New York, 1947), pp. 160-168.
5
H. L. F. Helmholtz, Sensations of Tone (London, 1930), pp. 257-262, 515-527.
Cecil Sharp, English Folk Song, Some Conclusions (London, 1908), p. 45.
e
54 Melody
Example 64.

The is one of the most frequently used, in

pentatonic scale in example 63 (t)
the hero Christmas carols, and work songs. Most of
songs of supernatural, songs,
the melodies are rather short and often richly ornamented. Example 65 is typical
of some one hundred folk tunes based on that scale. The augmented second, as in
Example 65. Midi Ruian (Young Ruian Has
Fallen 111). Sung by Nedka Marinska, of
7
Alexandra vo, Lovech.
M.M. J=60 ^

Mlat Ru -
ian, raz-bu-lia! mi mlat Ru - ian.

this example, is sometimes used to express sorrow, although such use is by no means
standard. It also occurs in unmeasured harvest songs as part of the melodic figures

which accompany the nonverbal interpolations. The lyrics of the song, of which
there are forty-six strophes, tell in detail of the tragic death of young Ruian. After
months of as the end is near, he professes sacred love for his family
long agony,
and longing for the forest and friends. He begs his mother to assist him in donning
his best attire, then , . ,
'
Out his mother went.
She brought his best clothes.
Best clothes. The spirit came back.
Back. Temporarily. Then it left.
It left. The spirit left Ruian.

Of the pentatonic scales in which quarter tones are found, only the ones that
use the half flat exist in complete form. Songs using scales in example 63 (o, p, q,
and r) are conspicuous. In Libe Dobrinke (example 66), which employs the last-
mentioned scale, half flat is an intermediate sound between A and A flat.
A
Example 66. Libe Dobrinke (Sweetheart Dobrinka). Sung by Maria P. Tzenova, 48, of
8
Brenitza, Bela-Slatina, January, 1928.

M.M. A 200

ze - me.

7
Narodni pesni ot Sredna Severna Bulgaria (Sofia,
Vasil Stoin, 1931), p. 531, No. 1586. Hereafter
cited as Ot Sredna Severna Bulgaria.
8
Stoin, Narodni pesni ot Ttmok do Vita (Sofia, 1928), p. 422, No. 1681. Hereafter cited as Ot Timok
do Vita.
 Melody 55
In Bulgarian folk music are found Arabic Magamat scales and modes which
correspond to Persian and Turkish scales hidschas, hidjaskiar, huseni, uschak,
suuzinak, and others. Such scales are uncommon, however. Glasove II and VI of
the Eastern Orthodox chant have characteristics similar to the scales mentioned
and have been confused with them by some collectors. Example 67 gives Arab and
8
Persian scales as listed by Dobri Christov. They differ from those given by Ellis,
10
Farmer, and Helmholtz.
Example 67.

A RAST SRP-ADJEM

SUUZINAK ADJEM-KIURDI
o

NEVA (NEAVENT) MAHUR

o 1*4% o tu
O 43

USCHAK ISPAHAN
~C~

HIDSCHAS BUSELIK

=^^FF gO

HUSENI ZERGIULE

HIDJASKIAR ARAQ
" tf" ^
SABA
ADJEM-ASURAN -o o-
us:

MUSTAAJR

9
Christov, op. dt v pp. 73-74.
10
Helmholtz, op. dt.f pp. 282-283.
56 Melody
Dobri Christov mentions that B is not in tune in the Arabic Magamat scale
huseni. In all probability the sound of that note is somewhere between B and B
flat; if so, the scale would read as in example 68.

Example 68.
HUSENI

Bolen Doichin (example 69) is based on the scale in example 68. The melody
follows closely the huseni framework and only once does it go below the final.

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

len Doi-chin,

-
le-zi tuk-mo de - vet go di-ni,

- di -
bo -len le-zi tuk-mo de -vet go ni,

tre - va po - nik

- bos
che go gle - da ses-tra Pe - na iu -
ni-tza,

che iu - tish-la na bis - tar Kla - de-iietz.

Sick Doichin grew even sicker.

Illhe lay exactly nine long years,
Lo, exactly nine years was he very ill, etc.

The name of the scale uschak, according to Christov, comes from the two Arab
words "pleasure" and "artist/* Ere Tudore (example 70) uses all the notes of that
scale except the lowest.
11
Stoin, Ot Timok do Vita, p. 790, No. 2961.
 Melody 57
Example Ere Tudore. Song for swinging. Sung by Ivanka Ivancheva,
70. 50, of Borovan,
12
Bela-Slatina, December, 1927.

M.M. P= 304

f
BreTfi-do-re bregi-di-o, dza-rari e praz - na ne-de-lia.
The scale with a half tone followed
by an augmented second in the ascending
form is designated by Dobri Christov as hidschas and by Farmer as Ispahan. The
fourth, and seventh degrees of the scale are emphasized in example 71. The
fifth,

predominating motion is descending. The raised third step invariably proceeds

down to stress the interval of the augmented second.
Example 71. Snoshti si minah (Last Night, My Love, I Passed by Deserted Vratza). Sung
13
by Slavka lordanova, of Pudra, Vratza, May, 1927. Notated by Ivan Kamburov.

M.MJ-. 270

Sno-shti si mi - nah gu-lu-bo, sno-shti si nah,

sno - shti si mi- nah gu-lu-bo krai pu-sta Vra - tza.

Sometimes folk melodies are built on scales that are only rough approximations
of patterns here discussed. Example 72 shows such a succession of notes,
apparently
a mixture of several scales.

Example 72.

32221

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

Example 73. Grozddnka i Bogddn Voivoda^

Andante

Groz - dan-ka dvor ho de - she

in

zal - no mil - no -
i pla-che she,

/Wd.,p. 127, No. 538.

8
7&iU, p. 574, No. 2200.
4
Christov, op. cit.}
p. 68.
 Melody

Bog- -da
-
ne, da te u - bi e.

CHURCH MODES
THE OSMOGLASIE OF EASTERN ORTHODOXY
The Bulgarian term for echoi is glds; therefore, the eight-echoi singing of Eastern
Orthodoxy is known as osmogldsie. Egon Wellesz explains the origin of the osmo-
gldsie with the statement that "it is an
indisputable fact that the church melodies
of the Russian and the Balkan peoples are Byzantine in origin/' 15 The matter is
actually much more complicated than this. Scientific research into the history of
Russian church music and the church music of the Balkan Slavs is
by no means
complete. For the present, at least, it may be safe to assume that musicologists who
believe that the eight-mode
singing is of Slav origin are correct. It would not be
at all surprising to discover that this method of
liturgical singing had its beginnings
in Bulgaria, whence it was
transplanted to Russia. (See discussion on pp. 1 1 ff.)
The first liturgical music used in the Russian services was notated in what was
known as znamenny notation, also referred to as
slaviano-bulgarski signs. The
names of many of them are still preserved in
manuscripts. Many of the composi-
tions themselves are called hence there
bolgarski rospev; is
good reason to believe
that Bulgaria played a much more
important role in the spread of Christianity
throughout Russia than is usually supposed.
Macedonian-born Anastas Nikolov (1876-1924), one of the few specialists in the
old Bulgarian chant, spent
twenty years in Russia studying and transcribing bol-
garski rospev which he found in Russian manuscripts of the eighteenth and nine-
teenth centuries. In close collaboration with Vasilii
Smolensky (himself an authority
on the subject) and P. A. Lavrov, Anastas Nikolov made a
thorough study of the
famous Titov collection, kept at that time in the St.
Petersburg Public Library.
With the aid of Countess Praskovia Alexandrovna Uvarova, he was
given access
to Uvarov's collection of rare books,
containing whatever manuscripts the Titov
library lacked to make his study
complete.
13
Egon Wellesz, ''Eastern Church Music," Grove's Dictionary of Music and Musicians
(Supple-
mentary Volume, New York, 1944), pp. 171-182.
 Melody 59
Nikolov writes in the introduction to his Staro-Bulgarsko Tzurkovno penie,
"Now, there exists for me no doubt that the liturgical chant notated in Russian
manuscripts under the name 'bolgarski rospev' in an epoch when not only distant
nations, but even our own had forgotten to identify itself with its own name, was
a creation of our [Bulgarian] forefathers." He also quotes a letter written in 1458
by the Maldovian Voivdda, addressed to the Orthodox Brotherhood in Lvov: "Send
youngsters to learn Bulgarian Church Chant, because there are already such in
Pshemisl."
Judging from the findings of Anastas Nikolov, who had access to prime sources,
little doubt that the osmogldsie now in use in Russia came
there seems to be origi-
nally from Bulgaria. Bulgarian authorities are inclined to believe that the
osmogldsie originated there.
The osmogldsie is not a scale or a mode; it is rather a manner of grouping notes
into typical melodic contours which differ with each glds. Each of these gldsove
is further distinguished by its individual beginning as well as by an extended
cadence. These characteristics apply more strictly to the gldsove of the liturgy;
illustrations from folk songs are naturally somewhat altered, as will be obvious
from the accompanying illustrations. Only tunes of unusual tonal and structural
nature are given. The complete form of the glds., as well as its typical cadence,
has been included in all instances.
Glds I moves within the pentachord G-D, with A as its final and C or B as the
dominant. The complete form is given in example 74.
Example 74. Scale.

Example 75. Typical cadence of Glds I.

In Bulgarian liturgy Glds I is usually transposed down a fourth. A humorous

song (example 76), which ridicules the lazy village belles, uses Glds I thus trans-
18
posed.
Example 76. Poiskdla Rddka (Radka's Desire).
M.M. Jsll4

Po- is-ka - la Rad-ka da se ze -

ni, a - la ne - ma

ri-za i cho-ra -
pi, a - la ne - ma ri- za i cho - ra -
pi.
Poiskdla Radka da se 2e"ni Radka has decided to get married,
Ala ne'ma riza i chorapi, But she has no shirt nor has she stockings,
Ala lie" ma riza i chorapi But she has no shirt nor has she stockings,
16
According to Dobri Christov, the second degree of this glds is somewhat uncertain and flat.

Op. cit., p. 57.

6o Melody
Da si dari svekur svekurva, i To give presents to her husband's parents,
Da si dari zulva ettirva.
i To her husband's parents and his sister.
Polieleiat na Bulgarkata, the opening of which is given in example 1
(p. 12),
is in Glds I.

Glds II moves between F and B, with D as dominant and G (sometimes B) as

final (examples 77-79).
Example 77. Scale.

fa

Example 78. Typical cadence of Glds II.

Example 79. Sldveiche pee (The Song of the Nightingale). Sung by Maria Borisova, 28;
Elena Nikolova; and lordana lordanova; of Chaushovo, Svishtov. 17

M.M. = 152

Sla-vei-che pe-e ma-li ma do-lu mi go -

re, go -re.

In Glds III, E is considered the tonic, A the dominant, F the final (examples
80-81).

Example 80. Scale.

Example 81. Typical cadence of Glds III.

Of the several varieties of Glds IV, the type illustrated in

example 82 uses as A
dominant, E as final. The fifth degree may be either B flat or B natural in ascending
or in descending form.

Example 82. Scale.

(b) (b) fa

Example 83. Typical cadence of Glds IV.

fa

In Glds V the dominant may be either G or A and the final D. The melody is

generally contained between E and A.

Example 84. Scale.
fa

17
Stoin, Ot Sredna Severna Bulgaria, p. 378, No. 1 168.
 Melody 61
Example 85. Typical cadence of Glds V.

J J J, J J J
In all three forms of Glds VI (example 86) the lower tetrachords make use of the
augmented second. The difference lies in the upper tetrachords, where each of the
three displays a different arrangement.

Example 86. Forms of Glds VI.

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

. , fa ,__, fa

Example 87 gives the two types of cadences, which are equally frequent. The
first ends on the tonic; the second, on the dominant.

Example 87. Typical cadences of Glds VI.

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

Example 88. Konia f konia, rdnen konia (Beautiful Horse). Sung by Ivanitza Ivanova Don-
18
cheva, 19, of Mindia, Elena.

^
Ko -
nia, ko -
nia,
^
ra nen ko
^^ nia,

Ko - lio go - vo

This song, many other Bulgarian folk songs, can be classified under two
like

type headings with equal justification. It is primarily a love song, but customary
usage places it with
many other delightful songs which are sung at dinner. The
incident described homely and simple; yet
is its
presentation is as effective as if
it had been conceived by a finished artist.
Kolio spoke to his beloved horse:
"Let us go where we dined last night,
Where we met three pretty maidens.
The first made my bed with fresh linen,
The second tucked me in, but the third
o. 1735.
62 Melody
She spoke to you, my friend, saying:
'Have you eaten enough? Are you thirsty?
Is your master engaged? Is he married?
If not, he should marry me.
"
If he does, he will never regret it.'

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

Example 89. Sadila momd luk (A Maiden Planted Onions). Sung by Efimia Tzvetkova, of
Progoreletz, Lorn, 1927. Notated by Ivan Kamburov. 19
M.M. 152

ftp f t V
Sa-di-la mo-ma luk krai bo -
kluk, na-u-cMl se mlat mo-muk
n ill i

t nr
da i be-re luk, luk> a -ma mo-ma du-ma-she, id-vai mom-che pak;

IT

U|f p f |T If |T
R3|I^
na-li si mi mil i id -vai mom-che pak, pak.
drag^
A young maiden planted onions,
A young lad came and plucked them.
To the young lad said the maiden,
"Since I love you, come again, come again."

The VI (example 86, C) is almost as common as that used in

third type of Glds
example which
89,it closely resembles. Notice the descending melodic motion in
Pozgodil mi sa mldd Georgi (example 90).
Example 90. Pozgodil mi sa mldd Georgi (Young Georgi Became Engaged). Sung by Rada
Tzaneva, 38; Maria Miteva, 50; Dona Tanchova, 44; Ivanka Dzurova, 45; Pena Iv. Kazanova,
20
30; Tzveta Velichkova, 34; all of Stanchov-Han, Drenovo.

M.M. J = 152

rr
Po -
r
-
ir
dil mi sa
^mlad
^^^
zgo Geor-gi,

v Pe - tuk
i
mu be - she
p
go
rr
^
de -
2a,
ir

^
de - za.

Glds VII is like ir III, with somewhat extended compass on either end (ex-
ample 91).

Example 91. Scale.

19
Stoin, Ot Timok do Vita, p. 862, No. 3213.
20
Stoin, Ot Sredna Severna Bulgaria, p. 459, No. 1381.
 Melody
Example 92. Typical cadence of Glds VII.

VIII corresponds to C major, the most frequent notes being the first five.
<25

C the final; E (and sometimes D) serves as a dominant. Compositions in Glds

is

VIII ordinarily end with the cadence given in example 93.

Example 93. Typical cadence of Glds VIII.

Alarge number of unusual scales which are firmly established in the various
parts of the country fall into no particular classification. An explanation may be
that they are combinations of various gldsove and Oriental scales. From the ex-
tensive group of folk songs built on such scales, three examples have been chosen
(examples 95, 97, 99).

Example 94. Scale.

Example 95. Sung by Raika Petkova, 50; Pena Hr. Lazarova, 45; and Nanka V. Seikova;
of Gloiene, Teteven, March, 1928.
a

ko -
gi sum er - ma -mo io di - io.

Example 96. Scale.

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

^ M.M.J=42

? f w f

Da - li
gut- mi,

da - li
gur - mi il se zem-ia tur

1
Stoin, Ot Timok do Vita, p. 665, No. 2518.
a
/feidL,p.447,No. 1755.
64 Melody
Example 98. Scale.

Example 99. Tzenil se lovdn (lovan Was Hired). Sung by Kruskiana Dimitrova, Stoilka
Tzenova, Zlatitza Ilieva, and Ivanka Petrova, of Gorno-Osirovo, Berkovitza, January, 1928.
S8

Songs based on scales such as the foregoing, with the influence of the Orient,
or the gldsove,, or a combination of both, have qualities distinctly their own. The
phrases are rather short and loosely constructed, and follow no specific pattern.
The melody has a limited range, moving by conjunct motion chiefly, the descend-
ing motion being predominant. The songs are richly decorated and vocal inter-
polations are frequent. The melody is either unmeasured or it uses additive meters;
if the latter, the various units within the measure are treated rather freely. The

subject matter, in the majority, is unusual, dealing with talking birds, faith in the
curative powers of herbs, the life hereafter, and so on.
The presentation of gldsove and other unusual scales in modern notation is at
best only a rough approximation of the actual sounds. Since the tempered scale
is not used in Bulgaria, all indicated half-flatted and
half-sharped notes are by no
means in quarter-tone relationships to the two notes between which they appear.
For instance, B half sharp in buselik (example 67) is closer to B than it is to C;
B half flat in huseni (example 69) is closer to B than it is to B flat; E in Glds III
and B in uschak are somewhat flat in comparison with the same notes in the tem-
pered scale; E flat in Glds VI is a little higher, and so on.
MEDIEVAL MODES
Most of the ecclesiastical modes with their hypogenera are well represented in
Bulgarian folk music. Examples in the Dorian, Phrygian, Lydian, mixolydian, and
Aeolian modes are quoted.
Dorian mode. In example 100 the opening on the seventh degree of the mode
is unique, also the repetition of the first two measures and then of the first four

measures. The syncopation in measure thirteen is equally rare.

23
Ibid., p. 297, No. 1252-
 Melody 65
Example 100. Idi, mdmo, u Donkini (Call on Donka, Mother). Sung by Kina laneva, of
84
Sofia, August, 19 II.

3 s P=E
I - di, ma -mo, i * di dza-num, do - lu u Don-ki - ni.

Po -is - kai mi, mi -la ma -

mo, Don - ka hu-ba - vi - tza.

Idi, mamo, idi d2dnum Go, dear Mother, call on Donka,

Dolu u D6nkini, Call at Donka's house,
Poiskai mi, mila
mamo, And ask, Mother, dear Mother,
Donka hubavitza, i t.n. For the hand of pretty Donka, etc.

Phrygian mode. See example 101.

25
Example 101. Pusni mi, lelio mari, Todorka. Notated by Dobri Christov.

Moderate

Pus - ni mi, le - lio ma -

ri, To - dor ka,

II 2

Dva - ma na 16 -
ze, le - lio, da i dem, dem.

Auntie, let Todorka come with me,

So that together we may go to the vineyard.

Indian and hypolydian modes. These are extremely rare, so much so, in fact,
that I have been unable to locate examples of them in complete form. There are
some songs, however, which- are built on one of the tetrachords of these modes
(example 102).

Example 102. Eld sa viva. 20

fi
Andante
XXJULVLCt JU. U v*

E - la sa vi-va,pre-vi -
va, mo- o - ma sasro-da pro-shta-va.
Ela sa'viva, previva, The willow bends its branches,
Moma sa s roda proshtdva. While the maiden bids her family farewell.

This wedding song, according to Angel Bukoreshtliev, who has made an extensive
a
study of the central Rhodope district, belongs to group of songs
which are among
the oldest in that sector. He believes that songs in the Lydian mode, which is one
24
Col. lankov, collector, and Dobri Christov, notator, "Bulgarski narodni pesni ot Besarabia,"
Sbornik za narodni umotvorenia i narodnopis (Sofia), Vol. XXVII (1913), p. 16, No. 21.
25
Ivan Kamburov, Illustrovan muzikalen rechnik (Sofia, 1933), p. 98.
(Sofia), Vol. XXXIX (1934), p. 8.
*
Angel Bukoreshtliev, "Sredno-Rodopski pesni," Sbornik . . .
66 Melody
of the rarest, are older than melodies In the other medieval modes. He also states
87
that the Dorian mode is
prevalent in the music of the Pomaks.
Mixolydian mode. This mode is
fairly common, especially in Macedonia (ex-

ample 103).
Example 103. Notated by Dobri Christov. 28

Aeolian mode. The Aeolian mode is well represented in Bulgarian peasant

music. In most of the songs, however, the octave above the final is not included;
instead, the melody extends a second or even a third below the final. Example 104
is
quite unusual.

Example 104. Notated by P. E. Stefanov. 2*

16 fO' |T T P
li

:
ll
f CJME
CONVENTIONAL SCALES OF WESTERN EUROPE
Prior to her liberation in 1878, Bulgaria, unlike her sister Slav nations, had little
or no contact with western Europe; therefore, Occidental influence on any aspects
of the national culture was negligible. Nor was any direct result of the earliest
intercourse with the West immediately noticeable. Just as the Byzantine clergy
in the Middle Ages failed in their desperate efforts to convert the Bulgarians, so
cultural overtures on the part of western Europe had no discernible effect. In
both instances, attempts to proselytize were doomed, since they affected only the
population in the bigger cities. Four-fifths of the nation's population remained
in the villages, almost unschooled and completely nonindustrialized. There, iso-
lated and self-contained, with its rituals and customs, traditions and folklore, the
Bulgarian peasantry has managed to preserve its identity for some twelve centuries.
last three decades, however, even the remote Bulgarian village has under-
In the
gone a gradual metamorphosis; with improvements in roads and transportation,
mass exodus to the city took place. The nation's leading theaters and symphony
orchestras gave performances in rural sections; schools were opened throughout
the country. An impressive number of students sought education in the famous
universities of continental Europe, England, and the United States, and upon their
return they brought with them the patterns of a different culture.
27
The Pomaks are Bulgarians who practice the Mohammedan religion. They inhabit the regions
from Chepino to the Rhodope Mountains. Although the Pomaks have accepted Mohammedanism,
their speech and song are in the pure Bulgarian language. The influence which the singing of the

hodjas has exercised on the Pomaks seems to be negligible, as has been that of the professional
Turkish musicians.
28
Kamburov, op. d., p. 98.
29
Loc cit.
 Melody 67
The need for trained professional men engineers, lawyers, dentists, doctors,
musicians, artists, teachers was greatest in the outlying districts, to which many
of the newly trained went to practice. Thus the conflict between the applied music
that is folk song
(which has remained applied to both folk poetry and dance)
and the theoretical music of the academies; the monophonic music of the folk
singer and the highly colored, harmonic settings of art music; the gldsove and the
concept of the major-minor tonality.
In recent years many melodies which from all indications postdate the meeting
of East and West have been included in published collections of Bulgarian folk
songs. There can be little doubt that they stem directly from the influence of an
alien art music and do not properly belong in the folk-song category. More often
than not they display a regular metric signature, consist of regular phrase and
period divisions of four, eight, or sixteen measures, exhibit an unusually wide
compass, and follow definitely harmonic outlines. (See example 4. Melodic frag-
ments example 137 are indeed very unusual in Bulgarian
like measures 7 to 11 in
folk music.) Manythem use devices atypical to Bulgarian folk music, such as
of
modulation, chromaticism, excessive syncopation, and sequences.
Another Western influence on Bulgarian folk music that is more widespread
than the addition to standard collections of unauthenticated, perhaps artificial
folk songs is the inaccurate notation of actual folk songs
by Bulgarian musicians
who have been trained in foreign countries, and who find it difficult to record what
they hear exactly, without editing it to conform to Western theory. For nearly a
half century a bitter struggle has raged in the Bulgarian press in regard to the
notation of Bulgarian folk songs in a manner that portrays their genuine sound
and structure. Paradoxically enough, both points of view in the argument sound

logical as far as they go. It seems to me, however, that the major premise of the
Bulgarian scholars who have been trained in Europe is false; they have the order
of music and theory confused.
"The truth is, of course, that these scientific expressions are not arbitrary rules,
but are explanations of phenomena. The modal system, for example, is simply a
tabulation by scientists of the various methods in which it is natural for
people to
80
sing/'
There should, then, be no quarrel with theories of Western music; its rules are
based on a logical development of the tonal art of western Europe. Therefore, the
minor scale does need a leading tone, a melody has come to imply certain har-
monies, and the 9/8 measure is a compound triple measure in Western music. But
no system of logic could insist that the same theories must apply to an unknown
body of music that of Bulgaria, for instance, where the minor scale in hundreds
of songs has a lowered seventh degree, where the melody is extremely difficult to
harmonize, and where a 9/8 measure is never a compound triple meter, but rather
an additive combination of2-f2 + 2 + 3or2-f-5-i-2 + 2.

INTERVALS
The diatonic progression predominant in Bulgarian folk music. Nearly all the
is

intervals known to Western music appear both in ascending and descending form.
80
Ralph Vaughan Williams, National Music (London, 1934), pp. 29-30.
68 Melody
Although the octave may appear anywhere within the melodic phrase, it is found
most frequently either at the semicadence, as part of an exclamation, or accom-
panying words which are not part of the text, or perhaps, under similar circum-
stances, at the end.
In the music of the Rhodope district, however, the octave appears frequently
at the beginning of the period, ascending (example 105).

Example 105,
^ .
etc.

j r runr
In rare instances, the leap of an octave appears within the phrase, in descending
motion (example 106). Example 106 is also unusual because of the leap of a seventh,
followed by the leap of an octave in the opposite direction.
31
Example 106.

- M.M. J = 72 et c .

Often the octave leap is the result of an exclamation, as in example 107.

Example "107. Ostdna kozd idlova (The Barren Goat). Sung by Gena Stefanova, 38, of
82
Dolni-Lukovit, Orehovo, January, 1928.

0-sta- . . . na ko-za, ia-la ia ... pri-be-ri /

The major seventh does not exist as an independent melodic interval in the
folk songs under consideration. The minor seventh, on the contrary, is very com-
mon, especially at the beginning of the musical sentence (example 108).

Example 108. ChMam sa mdicho (I Wonder, Mother).

83

Moderate

^
Chu - dam sa, mai -
cho, mi

da- li ot te * be da mi nem.
Chudam sa mdicho, mislim sa, I wonder, Mother, as I think,
tbe da minem.
Dali ot If I should pay you a visit.

Example 109 gives further instances of opening phrases using ascending sevenths.
81
Katzarova, op. example
cit., 4.
83
Stoin, Ot Timok do Vita, p. 263, No. 1122.
**
Bukoreshdiev, op. cit.f p. 5.
 Melody
Example 109.

tC. etc.

The use of the minor seventh at the beginning of the phrase, as in examples 108
and is typical of the music of the Pomaks. In the music of other
109, parts of the
country the minor seventh may occur within the phrase (example 106), or it may
appear as a nonverbal interpolation at the semicadence, or at either end of the
phrase (example 110; see also examples 7, 73, 106, 218).

Example 110.

ra- no ni-la
The
interval of the sixth, major and minor, although not altogether excluded,
isneither usual nor characteristic. Examples of the major sixth are rarely found
in genuine folk songs. But the minor sixth is frequently present in actual folk
melodies, especially in those from Macedonia.
The perfect fourth and fifth may be called the most characteristic intervals in
the construction of Bulgarian folk melodies. They may appear in melodic form at
the beginning or within the phrase, and often as part of the cadence. The perfect
fourth is an important structural interval. Two or more successive fourths are
rather typical. (See examples 7, 28, 115, 191, 204, 205.) The melody either turns
back, scalewise, after the second leap (example 111), may return to the point of
origin and leap to another fourth in the opposite direction (examples 112, 153), or
may be connected by a step with the second leap (example 113; see also example
153).

Example 111.

^
Example 11 2.

etc.

Example 113.

In rare examples the fifth may be followed by a fourth, and vice versa (example
114).

Example 114.

j j j i-n j j ii
j
N. j
u. i
70 Melody
Occasionally, a fourth is followed by an octave. (See example 8, p. 18.)
It is not unusual to find folk songs consisting almost entirely of perfect fourths
and fifths (example 115). That the natural intervals of the fifth as well as the
Kne2a, Orehovo, October, 1927. a
*
Example 115. Sung by Spasa Nikolova Penelska, 57, of

M.M.J =40

Set - te s sei-te, do tri si-ta

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

Fifth followed by fourth * B

<g>
Example 116. (Sister Mariika, Have You Been to Market?).
dele kdko Sung by Peter
35
Todorov, 20, of Dolna-Gnoetitza, Orehovo, October, 1927.

Jui 45
M.M. J_J

6-le-le, ka-ko Ma- rii- ko, dos, ho-di-la li si nis pa-zar.

As structural intervals a fourth may frequently be followed by a fifth, to com-
plete the octave (example 117).

Example 117. Ptistite mH morni (The Wild Maidens of Vakarel).

r ir r ir i

Pus-ti - te mu mo - mi, mo -mi Va - ka - rel - ki.

Of the augmented intervals other than the second, that of the fourth seems to
be the only one used (example 118). Diminished intervals, as in example 99, are
rare.
34
Stoin, Ot Timok do Vita, p. 136, No. 578.
35
Ibid., p. 497,No. 1955.
 Melody 71
Example 118. Sung by Dragana Petkovitza, 68, of Karlukovo, Lukovit, March, 1928. No-
tated by P. E. Stefanov. 38

M.M.

Ai de, du-de, ai-de data vo -

da ta vo-da du-de, na-she se lo.

The major and minor third occur almost as frequently as the second. Often
they
appear in succession to form major and minor triads (examples 34, 64, 89, 145,
146; note also measures 7, 8, 9, and 10 in example 137). The augmented second has
been conspicuous throughout the musical illustrations and needs no further com-
ment. (See examples 20, 23, 43, 53, 60, 61, 65, 71, 73, 79, 88, 89, 90, 95, 145, 146, 154,
160, 172, 178, 179, 180, 193, 197, 200, 201, 204, 208, 209, 210, 216, 217.) The unusual
intervals created by the various scales employing intervals smaller than a minor
second are many; they belong in an entirely separate classification and therefore
are not discussed in detail here. (However, see
examples 66, 69, 70, 73, 99, 140.) The
half flat appears more frequently than the half
sharp, and resolves downward. The
half sharp does not necessarily resolve scalewise. The two never in the same
appear
melody, although there are instances where a half sharp and a flat are used, as in
example 120. In a few instances, two half sharps are used in the same song, as in
example 122.
Examples 119-122 further illustrate the use of the half flat and the half sharp.
Bulgarian folk music uses the untempered scale, and the intervals resulting from
the half sharps and flats are not quarter tones. In example 119 the final exhibits
an interesting relationship to the rest of the melody. Note the interval B to D half
flat.

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

^ M.M. A 240
* r TP PP
Kur-va - vi - tza na po - li -
tza, la- do -to la - do.

Note the G half sharp to B flat in the second measure of example 120.
interval

Example Rdvna zeldna mordva (The Level Green Meadow). Sung by Ivanka N.
120.
Moneva, 46; and Danka I. Vasileva, 42; of Golem-Izvor, Teteven, March, 1928. 38

M.M. A 304
JRav-na ze - le - na mo-ra-va, go-ro lio,go
- ro ze-le-na

*
No. 568.
Ibid., p. 133,
7
Of Sredna Severna Bulgaria, p. 167, No. 425.
Stoin,
8
Stoin, Ot Timok do Vita, p. 92, No. 386.
ys Melody
Zaliubila Vangelina (example 121) is a humorous love song, with many regional
variants.The constant factors in all versions are the names of the principals, care-
less Vangelina and her lovers, the sons of Dimo. The gory conclusion of the
brothers' rivalry varies widely; in the fatal battle over Vangelina, rivers of blood
sufficient to start the mill wheels turning, or torrents of blood to water dry plains

may flow. In one version, Dimo has five sons in the toils of Vangelina, who are
advised to visit her on succeeding days. It is significant that the tragic material of
brothers killing each other over a woman has, in this folk-tale song, always been
treated in a burlesque manner.

Example 121. Zaliubila Vangelina (Vangelina Has Fallen in 89Love). Sung by Ivanka lorda-
nova, 50; and Ivanka Docheva, 27; of Duskot, Veliko-Turnovo.
M.M. = 160

J NJJVlJ J |Hf^f33
Za-liu - bi-la Van-ge - \i - na Di-mo - vi-te dva-ma si-na

Vangelina's madly in love,

With two handsome sons of Dimo,
But she mixed her dates and had them
Both call on her the same evening, etc.

When a half-flatted note concludesa melody, this note is usually higher than the

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

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

M.M. -^=200

,
Slun - tze -
to, Sta -
no, za - io - da,

Bulgarian folk songs begin on any degree of the scale; no marked preference is
discernible.The use of the third and fifth degree at the beginning is merely acci-
dental (examples 6, 8, 15, 22, 28, 31, 35). Thus, Dorian melodies may begin with
any degree of the mode but the second (example 123; see also examples 54, 65, 71,
73, 76, 100, 189, 191, 194).

Example 123.

(Final) eta etc. , ^. ,

etc.

etc. __- , etc. N.B. etc.

J. ^ J
j
if!
88
Stoin, Ot Sredna Severna Bulgaria, p. 823, No. 2520.
40
Stoin, Ot Timok do Vita, p. 232, No. 996.
 Melody 73
Not infrequently, melodies begin with the tone below the final (example 124;
see also examples 17, 32, 38, 193).

Example 124.

(Final). etc .

J J.
Diatonic ascending motion at the beginning of the melody is apparent in Bul-
garian folk song. However, there can be no conclusion drawn concerning the
41
thirds, fourths, and fifths. General descending motion within the phrase, as in
example 150, is rather frequent.

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

Example 125.

in the last measure of example 125 is so exceptional that it was omitted from the
discussion on melodic intervals. The octave remains the largest interval to appear
with any frequency. The free construction of the folk song makes possible more
than one semicadence within the melody, as in examples 9, 62, 69, 163, 164, 182.

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

Example 126 gives a few characteristic final cadences.

41
At the beginning of the phrase there are approximately as many fourths downward as upward.
74 Melody
Example 126.

A (Final).

<D II
-I
=! &
J-J-M

^
irfJ jt=d=d

= p &
r' ppppp* ^

ENDING A MAJOR SECOND BELOW THE FINAL

This is frequently approached by the skip of a third from above (example 127),

Example 127.

A (Final).
ISXI
Jirr'JirrrJ
This form may also result from an exclamation, thus

==s~
 Melody 75
ENDING A THIRD BELOW THE FINAL
Example 128.

(Final).

ENDING A PERFECT FOURTH ABOVE THE FINAL

Many such cadences are exclamations with syllables which do not belong to the
text.
(Final). ^

Fewer end with other intervals, also as exclamations (example 129). Frequently,

Example 129.

=P S=
Ji.hi.hj Ji|TT.a
such exclamations end with indefinite pitch (example ISO).

Example 130.
**

or-

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

development preclude the grasping of intricate and abstract concepts, an excess of

may be turned instead to devices of ornament. The opposite, how-
technical skill
eyer, is not necessarily true that extraordinary craftsmanship implies lack of
intellectual powers. (Consider, for instance, the music of K. P. E. Bach, Couperin,

Mozart.)
In folk song the individual performer customarily adds his own ornamentation
to simple folk melodies. Ornamentation is the most obvious communal addition
to the folk melody, the creative work of the singer or instrumentalist, added to the

original patterns to serve a twofold purpose; that of pleasing the audience, and of
gratifying the performer himself as a demonstration of his great dexterity.
I believe, however, that these ornaments must also be recognized as exhibiting
distinct creative ability, since they are in strict agreement with the form, the tonal

pattern, and the general artistic design of the folk song. In this way they are as
creative as they are interpretative.
76 Melody
Melismatic passages precede many songs and serve no other purpose than to
attract the attention of the audience; they set a vowel which is not part of the text

(example 131).
2
Example 131. Kakuv e spomen*

Hei! Ka - kuv e spo -

men,
M.M. J:60

Sed -
ni, Mar -
ko,

etc.

Hei, hei, hei! zo - ra

Within the musical period the decorative addition may progress diatonically or
by a quarter tone or an augmented second; it may cover the interval of an altered
or perfect fourth or fifth (example 132).

Example 132.

Sometimes the ornamentation consists of a group of grace notes to facilitate the

singing of very wide intervals that are entirely out of character in a particular
song. These unorthodox leaps may result from a singer's transposition in order to
find a more comfortable range for the phrase; this, however, does not seem to be
true in example 133.
42
Katzarova, "I)neshnoto sustoianie na epichnia recitativ v Bulgaria/' Izuestia na narodnia etno-
grafski mtizei v Sofia.
 Melody 77
133. Seite, drushki (Sow,
Example My
Friends). Sung by Baba Gika Torlashka, of Vulche-
drum, Lorn, December, 1926. Notated by Christo Iliev. 48

M.M. J = 66

Sei -
te, sei-te, drush-ki le, be - lo i- n brash -no.

Besides the type of exclamation which appears at the

beginning of the musical
period, illustrated in example 131, there is a type of exclamation consisting of
fewer notes, setting a single syllable; frequently there is a note as well only single
(example 134).

Example 134.

__ etc. , k 09 etc.

m
a o-bla-zi sa e Va - e / plad-ne
Similar exclamations may also appear within the phrase, at the final cadence, or
in both these places and at the beginning as well (example 135).

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

M.M. ^=180

Sa - ma Ian - ka za - mru - kna

ke le la - no.

ANACRUSIS
The anacrusis found so rarely in Bulgarian peasant tunes that for all practical
is

purposes it is nonexistent. However, the Bulgarian folk singer has sometimes felt
the psychophysiological necessity of anacrusis and fulfills this need by adding,
during performance, a note which is not part of the melody, set to a nontextual
syllable (example 136; see also examples 99, 140).

Example 136.

J
(e) Ran bo - si -
lek,

MODULATION
Modulation another rare phenomenon in Bulgarian folk music, and the few
is

recorded examples must be considered to be of much later date than the majority
of the folk songs here discussed. The Macedonian song, example 137,
popular in
*
Stoin, Ot Timok do Vita, p. 137, No. 584.
.244,No. 1043.
78 Melody
the vicinity of the celebrated Lake Ohrid, modulates to the dominant minor in
the second phrase of the first period and returns to the
key of the signature for the
entire second period. Note the three- and four-measure phrases in the first and
second periods, respectively. In connection see also examples 20, 54, 73, 167,
this
178, 179, 195, and 212. Some of the modulations are quite irregular.

Example 137. Sin mi kerko te miluval 45 (My Son Has Fallen in Love with You).

ft:

Sin mi ker-ko te mi-lu-val, pa se sra-mel da ti re -

chi. Sin mi ker-ko te mi - lu

^ ? %
se sra-mel da re -
val, pa se sra-mel, pa ti chi.

The change of mode (example 138) has a somewhat wider application.

Example 138.
Cs
3 r u RANGE
The range of the Bulgarian folk song rarely exceeds the octave; the
majority en-
compass only the fifth. The narrowest melodic range which I have found is that
of the minor second
(example 139). This vivacious song, performed during the
Example 139. Zdrdva godinchitze (A Prosperous New Year). Sung by Anka Nikolova, "24,
of Beli-Mel, Ferdinand, September, 1927. Notated by P. E. Stefanov. 46

M.M.J JUSO ^ ^ ^
- doi la - do.
Zdra-va, zdra-va, go-din chi-tze,
celebration of St. Basil's Day, offsets the lack of intervallic interest with
neatly
arranged metric and rhythmic forms. The two-measure extension at the end makes
for much more
interesting form. Words irrelevant to the text are added, follow-
ing the scheme of two syllables to the measure. The lyrics of the entire folk
song,
which would be quite meaningless in translation, convey the good wishes of the
singers to the celebrants.
I found no melodies limited to two notes a
quarter tone apart, but several
examples are based on two notes that are approximately three quarter tones apart.
Kalina seno pldstila (example 140) is such a folk melody.
45
Christov, op. ciL, p. 61.
4e
Stoin, Ot Timok do Vita, p. 48, No. 186.
 Melody 79
Example Kalina seno pldstila (Kalina
140. Was Gathering Hay). Sung by Tola Karchova,
47
80, of Krushovitza, Orehovo, October, 1927.

Ka-li-na se - no pias-ti
~
la, mo-ma uba - va Ka-li-na.
Kalina was gathering hay,
Beautiful maiden Kalina.

The repertory of the folk singer abounds in melodies that are contained within
the major second. Examples 141 and 142 are quoted here to illustrate further the
point already made that a musical sentence may be dynamic and interesting
with the simplest melodic material, I believe it is no accident that one of the
groups contains seven measures in quintuple meter, while the other contains five
measures of 9/16. Similar schemes which demonstrate economy of means without
lessening the effectiveness of the musical thought are prominent throughout Bul-
garian folk songs. The treatment of the dotted sixteenth note in example 141,
Example 141. Sedni bulka (Sit Down, Young Bride). Sung by Danka lordanova and Po-
48
liksena Sirkova, of Kramolin, Sevlievo.

M.M.

Sed-ni bul-ka iz- va-di prus-ten, la-do tui mla - do.

measure 5, is
unique; it facilitates insertion of a three-syllable measure into a
melody that is in duple meter.

Example 142. Tumna mugld (Dark Fog). Sung by Danka Ivanova, 56, of Beli-Osum,
Troian. 48

M 320

IP ETiHr
Turn- na mug-la pad-iia, mom-ne le, turn- na mug- la pad-na.
Another device used for adding variety and interest to the melodic line is to
alter the second phrase so as to retain the rhythmic units of the first, while chang-
ing their order (example 143).

Example 143. Zarucha, Stona, mdika ti (Your Mother, Stona, Has Given Instructions).
50
Sung by Maria losfova, 58; and Danka Naidenova, 45; of Kolibeto, Troian.
M.M. J- 152

Sto - no lio,chor-ba-dzi-ko
Zu * ru-cha, Sto-no, mai-ka ti, lio.

7
/&{<*., p. 103, No. 438.
8
Stoin, Ot Sredna Severna Bulgaria, p. 173, No. 447.

Stoin, Ot Sredna Severna Bulgaria, p. 173, No. 447.

8o Melody
Often the two melody notes are a third apart (example 144).
Example 144. Poide Ldda na voda (Lada Went to Fetch Some Water). Sung by Petra 51
Igna-
tova, 60, of Gorni-Lorn, Belogradchik, November, 1928. Notated by P. E. Stefanov.

M.M. A 240
Poi-de La-da na vo - da, eii poi-de La-da na vo - da.
The tune in example 144part of a wedding cycle. The celebrants dance around
is

a kettle of water, into which the young girls throw their rings. The young men
then fish out the rings, thus, according to an old folk custom, selecting their future
brides.
Melodies with a compass from the interval of a fourth to that of an octave consti-
tute the norm on which the deductions in the present study are based, and they are
amply quoted. Melodies with a range exceeding the octave are extremely rare.
There are several instances of melodies extending to a ninth and even a tenth. I
have personally never encountered in vocal music a folk melody encompassing the
interval of the eleventh, although the folk song in example 145 was recorded by
"

Ivan Kamburov, in the village of Orovene, Vratza, in April, 1927.

52
Example 145. Sung by Pena Mladenova.

i
Ma-rii-ka na stol se-de-she, oh, a -man, se-de-she, liu-bov-no

pis-
J
mo
UJ
che-te-she, oh, a-man, liu-bov-no pis-mo che-te-she.
m
Mariika na st61 sed^she Mariika sat on a chair,
Oh, aman, Oh, aman,
Liub6vno pismo chetdshe, Reading a love letter,
Oh, anian! Oh, amanl
It is obvious that the phrase "Oh, aman/' has no bearing on the text. Such
insertions, of varied length, are added freely within the regular lyric pattern and
serve no other purpose than that of meeting the metric
requirement. Note the
interesting construction of the musical sentences. The scale on which example 145
is built is unusual and effective.

Syncopation, sequences, and chromaticism do not exist in Bulgarian music. The

few exceptions found in printed collections and even in the
examples quoted
here cannot be considered characteristic.
51
Stoin, Ot Timok da Vita, p. 142, No. 609.
Ibid., p. 698, No. 2639.
 Melody 81

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

S TR UCT URE

ALTHOUGH the various paeonic meters result from the numerous intricate
steps~of the folk dance, the similarly
unusual rhythmic groups, many of them asym-
metric, are a direct outcome of the peculiarities of the folk verse.
Thus the structure
of the musical periods is a'nalogous with that of the individual measure; in addition
to the simple construction of 2 + 2, 4 + 4, and 8 + 8 measures, we find others, grouped
in units of 2 + 3, 3 + 4, 5 + 3, 3 + 2 + 3, 5 + 5 measures, and so on. These rhythms,
taken from the poetry and from the dance, are as normal for the Bulgarian as are
the regularly accented duple and triple rhythms for the Occidental.
Sometimes the melic accent of speech is disregarded for the sake of form and for
the dance step, especially where the words have been added to an already existing
melody or where a different set of lyrics is adapted to an older tune. In other songs
the music is melogenic for purely aesthetic reasons. Observe the setting of the second
verse in example 146.

Example 146. Snoshti si (Last Night).

etc.

Mo-e-to II -be Pet - ka - na susdrugo li-bepri-kaz - va.

The strophe consists of eight syllables, divisible into two groups: 5 + 3.

5 (3 + 2) + 3
st on& . --c
Mo e to li - be Pet - ka - na
Sus dru - go li - be - kiz - va
pri
or in three groups, two amphibrachs separated by_a trochee:
f
li-fie' Pet~ka~na
as the almost identical translation,
u i
| u _ u j

My dearest darling Petkana

On superficial examination the setting appears to be logogenic, especially since,
in all but one instance, each word begins a new measure. The qualitative accent,
however, falls on syllables that in speech are unmistakably weak. In the first measure
quoted, for example, the definite article to of the possessive pronoun moe is
stressed; in the second measure it is the second syllable which receives the emphasis
 Structure 83
instead of the first. In measure five the word drugo ("someone which is the
else's"),
key word in the text:
With someone else's sweetheart
She conversed,

coincides with the weakest beat of the measure. The last two measures, with the
upbeat, set the word "conversed," which is here stressed by its extension over more
than two measures. The result of this particular is as follows:
setting
Melic accent U 41 *J ^
Applied metric accent i^tJ !/ U --
Ordinarily, however, the melody in Bulgarian folk songs follows the natural
speech and the accent is strongly manifested, especially in dance tunes such as
example 147.

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

Liu-bi-li su, liu -

bi-li, ma-ri, Sto-ian i Ra-da dva- ma-ta.

So closely are melody and words knitted together in this song that in order to
preserve the rhythm and to allow Stoidn to appear in a new measure, the syllables
ma-ri have been inserted in the second half of measure four. Mart is an idiomatic
interjection and is not part of the text proper. Such methods of achieving balance
are frequently employed in Bulgarian folk music.
In order to preserve the melic accent, contemporary Bulgarian composers, when
providing settings for folk verse, find it
necessary to change meter within the
phrase.
Zagubila Tzona* Music by Parashkev Hadjiev.

7, 4 M J>
Za -
}
gu-bi
>
h
-
J>
la
J>
Tzo-na
J : J
Muz -
J
ka -
-
ta si roz- ba
Young Tzo-na has just lost her ti ny ba -
by boy.
In actual folk-song style the entire strophe would, in all likelihood, have been
setwithout a change of meter, still preserving the division of six syllables in each
of the two measures:

16 Za- - la Tzo- na Muz-ka- ta si roz-ba.

gri- bi

Man" devoiche nemilostivo? Music by Marin Goleminov.

5 -h -h J> J> J^i-b-b^ -b -h

||
> J> J ^ -h i?. i

8 Dru-shki-te ti ne pla-chesh. Za-pla-chi! Za-pla - chi!

pla-chat, a
Tonr friends are <weep-ing, but you do not weep. Weep, oh weep!Weep,oh weep!

Notice that the 3/4 measure following the change of meter sets only five syllables,
as do the measures before; Goleminov apparently felt that the stress provided by
No. 1537.
^VasilStoin, Bulgarski narodni pesni ot Iztochna i Zapadna Trakia (Sofia, 1939), p. 572,
2
Parashkev Hadjiev, Tri pesni (Sofia, 1943), p. 7, No. 22-
Marin Goleminov, Tri pesni (Sofia, 1941), p. 7, No. 19. The last three syllables repeat.
 84 Structure
the quarter note in the middle of the measure makes possible such pathos as the
even, rapid eighth note of the 5/8 cannot give.
Rhythmic structures found in Bulgarian folk music may be divided into four
categories: monorhythmic, symmetric, asymmetric, and incomplete.

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

Example 148.

.t.
... j ......... 1. ...
primitive character of the melody further strengthen the belief that the tune has
an early origin. The arrangement of the quarter notes is such that measure three
is identical with
measure two; the identical repetition builds an emotional climax
similar to the sortwhich nineteenth-century composers built through the sequence.
The last measure, then, though identical with the first, has an entirely satisfactory
cadence. The four measures have a miniature ABBA profile.
Often the phrase may consist of two measures only, which are then repeated. In
example 149 the difference between the two phrases is only one note; that note is
so skillfully chosen, however, that it
gives the feeling of finality the second time,
but not the first. Through the simplest melodic means, one single note is so em-
ployed that it serves the same purpose as the half or deceptive cadence in har-
monized music. Measures one and three are essentially the same. In the last measure,
the interval which was a perfect fourth in measure two now has become a
perfect

fifth. The pattern

JJ010|0c)00y, which extends over two measures,
remains unaltered.

Example 149.

M.M. J = c.lOO

f
r
JMp J^v IJ'
p
JO IC

SYMMETRIC STRUCTURES
The relationships maintained by the various rhythmic units serving as the struc-
tural basis of the folk tunes under discussion are of a much more fluid nature than
those of figure, phrase, and period of book-made musical sentences, where the dis-
tinction not always free from harmonic considerations. The word
is
"group,"
therefore, has been adopted here to designate such rhythmic units, since they differ
in concept from phrases and
periods which already have a well-established mean-
ing in musical terminology.

GROUPS OF MEASURES IDENTICAL IN NUMBER AND METER

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

TWO-GROUP STRUCTURES
Two measures each. 2/4: (2/4 + 2/4) + (2/4 + 2/4), or 2/4: (2 + 2). Examples are
also available in 3/4, 4/4, 5/4, 5/8, 6/8,
5/16, 7/16, 8/4, 8/8, 8/16, 9/8, 9/16, 11/16,
12/8, 13/16, and 14/16.
Example 150, a song about a famous girl, is of the type last mentioned, consist-
ing of two groups of two measures in each group, 14/16: (2 + 2).
Example 150. Shair po dvor odi Walked through the Yard).
(Shair Sung by Mitza
Pomashka, 27, of Uglen, Lukovit, February, 1928.*

M.M. J^s 280

Sha - ir
po dvor 6 - di i si ko - nia vo -
di,

SI ko -
m
nia vo -
di, zal - na zvir- nia svi - ri.

Shair po dvor odi Through the yard walked Shair

I konia vodi,
si With his horse behind him,
I si k6nia vodi. With his horse behind him.
2alna svirnia sviri: Mournful tune he whistled:
"Aide, aide, koncho, "Come, my faithful koncho f
Aide da ideme Let us go together,
D61o v B^rkovitza, Down to Berkovitza,
Dolo v B^rkovitza, Down to Berkovitza,
Sreshto Kutliovitza, Close to Kutliovitza,
V Berkovitza ima To Berkovitza, where
Cheshma izzidana. There's a famous fountain.
I tarn shte da doide To this fountain's coming
Stoina Nikolova, Stoina Nikolova,
Sas belite kotli With white water-buckets
S kriva kobilitza." Dangling from a cowlstafL"

The story or legend from which this song derives has completely disappeared
from Bulgarian folklore and only the song mentioning the name Stoina Nikolova
remains. It may have begun, as at least one authority believes, as a local love song
centered about the village beauty, whose fame soon vanished. It is reasonable to
suppose, however, from the use of both given names and surnames that the lady
enjoyed at one time a much wider popularity, perhaps as a heiduk (underground)
leader.
As in many of the musical examples discussed elsewhere, the perfect intervals
and fifth are very conspicuous in the tonal structure (example 151).
of the fourth

151.

^
Example

Stoin, Narodni pesni ot Timok do Vita (Sofia, 1928), p. 488, No.

*
1920. Hereafter cited as Ot
Timok do Vita.
5
Koncho is the diminutive and appellative form of K6n> "horse."
86 Structure
The semicadence (example 150) falls a perfect fourth below the opening note
perfect fourth above the final. The majority
and a of the songs with similar con-
struction seem to divide into two equal sections of two measures each.
Three measures each. Virtually all the metric combinations mentioned under
the groups having two measures are found here: 10/16, which did not appear
before, is now present, i.e., 10/16: (3 + 3), as in
example 152.
Example 152. Vrdneiat se vrdni konie (There Are the Dark Horses). Sung by Nikola
6
Dimitrov, 76, of Komarevo, Pleven, March, 1928. Notated by P. E. Stefanov.
k *

MJNL * = 360

Example 152 clearly illustrates an exact repetition of the first group by the
second. The
musical ingenuity is further demonstrated by the economy of means,
since the first half of the second measure is identical with the corresponding two
beats of the first, and since the third measure is only a slightly varied repetition of
the Thus the first measure provides the musical material for the entire song.
first.

The three-measure group is a result of the addition of a third measure, the words
of which, although connected with the text as a whole, are not important to it.
That measure, however, does help the form and provides the musical sentence
with greater interest by giving each group twelve beats instead of the usual eight.
The measure of 10/16 in this instance is not divided into 8 + 2 or 7 + 3, and so
on, but into 6 + 4, which according to the Greek principle of hemiolia is more

acceptable, by virtue of the 3:2 ratio between the two divisions.

Four measures each. There is nothing unusual about this subdivision. Example
153 is
unique not because of its formal structure, 3/8: (4 + 4), but because it is in
triple meter, which is extremely infrequent in Bulgarian folk music. The iambic

Example 153,

M.M. ^
fr-* 1

meter (measures two, four,six, and eight) is also unusual. Compare measures four
and eight and notice how in the first phrase the feeling of finality is avoided by the
introduction of the note G which began the melody but which is a major second
below the final.
Five measures each. In the love song, example 154, we see such a structure as
8/16: (5 + 5). The Bulgarian
folk poet-musician has frequently expressed prefer-
ence for phrases which consist of odd numbers of measures. Sometimes he has
6
Stoin, Ot Timok do Vita, p. 34, No. 141.
 Structure 87
extended regular four-measure phrases by inserting an otherwise unnecessary
syllable within the sentence or by prolonging the two cadences.
154. Bonka sa liubi sus Shdnko (Bonka Has Been in Love with
Example Shanko). Sung
7
by Spasa Nikolova, 26, of Izvor-Mahala, Kula, July, 1926. Notated by P. E. Stefanov.

go - di- na i po - lo - vi * iia.

The (example 154) is extremely rare in 8/16. Curiously enough, it

triplet figure
appears here in measures two, seven, and nine. Measure seven is almost identical
with measure two, but there is sufficient difference between them to avoid mo-
notony. The ninth measure seems to confirm the basic idea of the fourth measure,
but at the same time skillfully evades a sequential treatment. Unity and variety
are thus achieved by other than the obvious means to which the trained technician
might resort. The thirty-second note is also rare in 8/16.
Six measures each. This type is not very common. The few examples which are
available are in 2/4, 5/8, and 8/16.*
Seven measures each. In example 155 these groups appear as 2/4: 7(3 + 4) +
Example 155. Blaze na Dona (Lucky Dona). Sung by Zorka Ilieva, of Erden, Ferdinand,
May, 1.927. Notated by P. E. Stefanov. 8

M.M: J s 120 _T
-4-

Bla-ze na Do- na I - va-no - va

Shte vze - me Sto-ian, ma-ri, Pet - ro via.

7(3 + Note the F sharp in the first group and the F natural in the second, both
4).

approached from above. It is also interesting to observe that the seven-measure

group is subdivided into 3 + 4, thus: 7(3 + 4) + 7(3 + 4). The unifying effect achieved
by the first three measures of the second phrase, which are almost identical with the
7
Ibid., p. 704, No. 2658.
8
Six-group units are unusual in all other categories. Note that, like metric relationships, those
of form closely follow asymmetric patterns.
Stoin, Ot Timok do Vita, p. 933, No. 3549. The first line of the song is, "Lucky Dona IvanoVa to
e

be marrying Stoian Petrov." In each community, young people substitute names from the group,
linking couples who are rumored to be interested in each other. Either the rumors are accurate or
the suggestions potent, for marriages often result. Musicologists customarily refer to these songs as

matchmaking songs.
88 Structure
last three measures of the first phrase, is excellent. The notes are the same in pitch
In measures five and eight, but they differ in number.

THREE-GROUP STRUCTURES
Folk songs in this classification are found in almost all the meters discussed earlier
In this chapter. Each of the three groups may consist of two, three, four, five, or six
measures each: 2/4: (2 + 2-4- 2); 7/16: (3 + 3 + 3); 8/16: (4 + 4 + 4); 5/16: (5 + 5 + 5);
2/4: (6 + 6 + 6), and so on. Melodies with three such groups may be two-part struc-
tures with a repetition of either part, the result being either an or form. AAB ABB
They may also consist of three unrelated musical periods, ABC. However, see

example 47, where a three-group structure is of larger dimensions, 11/16: (4 + 4) 4-

(4 + 4) + (4 + 4). Such instances are more usual in instrumental
music.

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

Example 156. Purva). Sung by Tzena Georgieva,

Podzgni si devo, Purvo (Lift Your Veil, 10
Voinitzi, Lorn, March, 1927. Notated by Ivan Kamburov.
M.M. "=48

Po - di- g;n si de - vo Pur-vo, fe - re - dze,

da ti vi - dia, de-vo Pur-vo, be - lo li - tze.

FIVE-GROUP STRUCTURES
Two measures in each group. 7/16: (2 + 2 + 2 + 2 + 2), as in example 157. The
unexpected recurrence of melodic fragments in dance songs (example 157, meas-
ures threefour, seven eight), instead of producing the monotony one might expect
of identical repetitions and a temporary disruption of the unfolding of the melody,
achieves instead a peculiar tension which is difficult to explain. Such persistent
10
No. 2693. This love song, like many others, comes from the time when Bulgarian
Ibid.f p. 714,
women were forced to accept the Mohammedan faith and to wear dark gowns and veils like Turkish
women. "Lift your veil, Purva, maiden, so that I may see your fair face," sings the young man.
"I cannot [lift my veil]/' laments Purva, "for my face has
already been sold; it has been bought
for a thousand and five hundred" (sic).
 Structure 89
Example 157. Trunchitza sa obronila. Sung by Neda Dikova and Nonka Tzakova, of
Golemanovo, Kula, December, 1946. 11

M-M. J = 50
j> ji i
-i' -i' J

Triin-chi-tza sa ob-ro-ni-ia, etc.

repetition is
especially typical of the music performed on the gaz'da and the kavdl
(see chapter seven), and has an almost hypnotic effect on listener and performer
alike.
Three measures in each group. 5/16: (3 + 3 + 3 + 3 + 3) (example 158).
Example kdzah (Did I Not Warn You?). Sung by Stoianka
158. Id noli ti Iv. Gergova, of
Dolno-Tzerovene, Lorn, December, 1926. Notated by Christo Iliev. 12

la na - li ti ka-zah I -van-ke, Geor-gi da ne liu-bish,

r
Geor-gi da ne liu-bish I- van-ke, che toi dru-g-a liu-bi,

r-
fj

drii - ga me-ras - chii-ka.

Did I not warn you, Ivanka,

Not to fall for Georgi,
Not to fall for Georgi,
For he loves another.

The melody consists of three phrases, two of six measures each and one of three:
6(3 + 3) + 6(3 + 3) + 3. Each of the groups of six measures set fifteen syllables, nine
in the three measures, plus six in the second.
first Thus the distribution of syllables
as compared with the measure
grouping is
r6 -i r 6-1
Measures 3 + 3+ 3 +3 + 3=15

Syllables 9 + 6 + 9 + 6 + 6 = 36

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

na-li *
la ti ka-zah, I van-ke, etc.

l
/6id v p.875, No. 3265.
2
Ibid., p. 491, No. 1934.
 go Structure
Thepattern of one sixteenth note to a syllable, five to a measure, has been estab-
lished in the third and ninth measures to
provide the setting for [did I not] "warn
you, Ivanka," and [not] "to fall for Georgi." Such a proceciure is very unusual for
a measure of 5/16. Ordinarily the text would have been set as follows:

and
Ka - zah Hii - bish
The
sixteenth-note motion in example 158, including the word "Ivanka," which
isby no means essential to the text, has been introduced for the sake of greater
rhythmic variety and a more graceful melodic curve.
Four measures in each group. 8/16: (4 + 4 + 4 + 4 + 4), as in 159. example
Example 159. Kapndla mi e kdpchitza (A Raindrop Fell). Sung by Toma Videnov, 61, of
13
Vasilovtzi, Lorn, September, 1926.

M.M, s 320

si- tza, na na-sha . . . ma-mo na li - tze, da mi se

. . . ma-mo raz - bu-di, da mi ia . . . ma-mo po - liu-bi.

A raindrop fell, and a dewdrop fell,

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

12
times. In measures ten, fourteen, and eighteen the melody makes provisions for
the insertion of various names of
boys and girls of local prominence and interest.

SIX-GROUP STRUCTURES
Two measures in each group. 9/16: (2 +2+2+2+2+ in
2), as example 160.
Ibid., p. 906, No. 3412.
 Structure
Example 160. Kato Gana nide nema (There's No One Like Gana). Sung by Vuna P.
14
Pelovska, 42, of Vidrare, Teteven, March, 1929.

Za-tri-la si Ga-na kri-vo pe-ro, kri -vo pe-ro Ga-na ^ pa-u - nio-vo.

^ K
j j [j JT
8

I J 1

Gan-chi-tze le Ga-no,pi- le ra-no, es na go-re Ga-no, es na do-le,

9 K

-^ ~f Pfrl'JTJlH
1

p EJ*''P 'I > p pjl.J'JiJL^Efe

Gan-chi-tze le Ga-no, pi - le ra -
no, es na go-re Ga-no ? es na do-le.

Zatrila si Gana krivo pero, Gana stuck a feather in her hair,

Krivo pero, Gana, pauniovo, Feather of a peacock.
Ganchitze le Gano, pile rano, I traveled east and I traveled west,
Es na gore Gano, es na dole. To the land of the Turks,
Hodih gore/Gano, hodih dole, To the land of the Vlachs;
I po Tiirsko, Gano, i po Vlashko; I looked at all their girls
ViMaii momi, Gano, viMaii bulki, And at all their womenfolk,
Kato t^be Gano, nide ne"ma. Found none fair as Gana.

There are several striking features in this spritely melody besides the melodic
and tonal peculiarities. Ordinarily, the treatment of the elongated unit at the end
of the measure in 9/16 appears as one beat, as Tl or as J J J , providing a

setting for one and three syllables, respectively. Here, however, the three sixteenths
are so divided as to accommodate two syllables (measures one and three), <J J J ;

Ga-na
variant in measures five, seven, nine, eleven: j\ J^
Ga-na
It sjiould be noted that this treatment
linked constantly to the girl's name,
is

Gana, which is mentioned in every strophe of the original, a common practice in

folk verse. The division of the last three sixteenths in 9/16 of the type discussed

on pages 29 and 30 is not so frequent as J J J or J^ P .

Three measures in each group. 7/16: (3 + 3 + 3 + 3 -+ 3 + 5), as in example 161.
14
Ibid., p. 1056, No. 3946.
g2 Structure

Example 16L Libe le, libe denguba (Sweetheart, Daydreamer, Sweetheart). Sung by
1927. Notated by P. E.
Giurgia Atanasova, 20, of Karbintzi, Belogradchik, January,
15
Stefanov.

M.M. J Ji=50

Li-be le, li-be den -

gu -
ba, ne gu-bi no-shtemza- lu -
dfi,

ne gu-bi no-shtemza - lu - du, ne tro-pai stol-che na-praz-no.

Libe le, libe denguba

Ne gubi noshtem zaludu,
Ne tropai stolche naprazno.
Mama me za tb ne dava
Che rni se sm^la maika ti,
Na moite tunki darove.

song (example 161) the maiden who is being courted calls

In this her suitor a
a for he wastes his days and nights wooing her in vain. She
dengub, daydreamer;
does not commit herself. Instead, she reports the sentiments of her mother. Among
the peasants, the mother has a great deal to say about whom her daughter shall
marry and when. Says the girl in the song:
My mother refuses to give me to you
Because your mother has made fun of me,
And she has called my dowry slim.

Four measures in each group. 2/4: (4 +4+4+4+4+ 4), as in example 162.

Example 162.

M.M. J = 140

Ta-fri se, Rat-Ice, gi

- zdi se, che - sto mi-na-vai krai na-ze,

J J
da-no te ma -ma ha - re -she, da -note ma -ma ha- re - she,

3
na ma-ma sna-ha da sta- nesh, na me-ne bul-ka da sta-nesh.
Tafri se, Ratke, gizdi se, Fix yourself up, Radka, sweetheart,
Ch(sto minavai krai naze, And pass by our house often.
Dan6 mdma harshe,
te My mother may come to like you,
Na mama snaha da stanesh And want you for a daughter-in-law
Na m^ne bulka da stanesh. As I want you for a bride.
15
Ibid., p. 652, No. 2478.
 Structure 93
SEVEN-GROUP STRUCTURES
Two measures in each group. 7/16: (2 + 2 + 2 + 2 + 2 + 2 + 2). The song in example
163 is
usually sung by two groups of singers responsively.

Example 163. Da kugd ni drugdr ddvash (How Long Can Our Friend Be with Us?). Sung
by Toma Videnov, 61, of Vasilovtzi, Lorn, September, 1926.
16

First group of singers

M.M. J

Da ku -
ga ni dru-gar da -
vash, dai ni ga, dai.

Second group

J.

Du ku
|i

-
ga
|i

vi
[! |
|

dru- gar da - vam na vi g-a, na.

m
First group of singers

^5 Ji :||
J J> J> |
J
-Stvo- ri - mu ga o -
gle- da- lo, 6 -
che-mo, 6 - che-mo.
de - voi - ke ga ku pu va
- - -
le,
u zu -
pa - hfi po- no -si - le,
sus nie- ga se po-gled-va-- le.

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

Example 164. Played on the kavdl by Petko S. Todorin, of Mekresh, Kula, February, 1927,"

EIGHT-GROUP STRUCTURES
Two measures in each group. These are usually repeated four-group structures.
(See example 3.)
18
/bid., p. 892, No. 3349.
17
1 bid., p. 1083 (erroneously printed in the original collection as p. No. 4052.
1803),
94 Structure
Three measures in each group. Some of these are the result of repetition of
broader sections; others are constructed more concisely, repeating smaller groups,
as in example 165.

Example 165. Hdrd igrde. Sung by Vuna P. Pelovska, of Vidrare, Teteven, March, 1928.
18

^ M.M. J = t52

E^ ^ E& P 5 m
Ho - ro i -
gra- e pod mo - na - sti - ra, ka - lu ~
ger

m5^ - da is mo - na -
U
sti-ra,
J U "J'.MJ
ka-lu -
b^^-f
ger gle - da is mo -
gle

=1 j |j? r ir j.J t N U J li

(2
The

4444 444
+ 2 + 2) +
na -

structure

(2
sti - ra,

+2+
in

2)
Example
+ (2
is

-
+2+
mo

2)
-

165
na
is

+ (2 + 2 + 2). The
-

2/4:
sti - ra

-2 + 2) +
is

structural designs
pen- dzu
(2 +2+ 2)
-

may
(2
re- to.

+2+

also
2)

be
+

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

Ho - ro i gra - e pod mo - na - sti - ra

2.
&
Ka -
J
**
lu
I J
ger
"~
I

Q
gle
-
J
da
I J
is
^
mo -
I ^
na -
I J
sti -
U
ra

. * -n
Ka-lu
i

-
J<^
ger
O
gle -
J
da
\O is
J
mo -
I J
na -
\& sti -
J
ra

4.
Is mo - na - sti - ra is pen - dzii - re - to.

The setting of the first group is not conventional, as J J J I J Jj J

|

does not correspond to a combination of iambic and feet. The same is

arnphibraic
true of group three.
The poetic stress falls thus: Ho-ro i-gra-e, and ka-lu~ger gle-da, in both instances

U_ ;* I? _u
which has been changed to
, V u :
-- .

Groups two, four, six, and eight (example 165) are built on the same combina-
tion of poetic feet as the first
group, but the scansion of the poetry shows that the
stress falls thus: pod mo-nd-sti-ra, or two
heavy accents only, demanding two meas-
ures for all five syllables. An effort has been made to set words which are of
hyper-
Ibid.f p. 1026, No. 3839.
 Structure 95
metric trochee - 41 v - U
into three measures, as y U.It Is obvious that the
tune, being primarily for dancing, has disregarded the poetry. Otherwise the
musical setting would have been simply

. J J.
^
Ho - ro i -
gra - e pod mo-na - sti - ra

The amusing
story told in this song is one of many dealing with the clergy of
the Orthodox Church. A
group of young girls is dancing on the monastery green.
A young monk watches them from a window, lamenting that he had not seen these
a year ago, before he took his vows.
girls Upon which the maidens whisper to him
that it isnot too late. If still interested, he could forsake his black cassock even
now. He then comes out of the monastery and
proposes to Minka, the most beau-
tiful of the
group.

REGULARLY REPEATING GROUPS CONTAINING IDENTICAL NUMBERS

OF MEASURES OF DISSIMILAR METERS
The musical periods in this classification are themselves
symmetric, but the indi-
vidual groups are asymmetric in construction. The melodies
may consist of two,
three, four, five, or six groups, each group containing any number of measures
from two to five.
TWO-GROUP STRUCTURES
Two measures in each group. Example 166 consists of two measures, 7/16 and
9/16, repeated twice.

Example 166. Gleda brdta si

(Watching Her Brother Plow). Sung by Doka Iv. Pardina, 60,
of Dalni-Lom, Belogradchik, November, 1926. Notated by P. E. Stefanov. 19

shto vo gle da - te.

Three measures in each group. A pattern of (5/8 + 4/8 4- 3/8), repeated twice
(example 167).

Example 167. Proklet da e (Cursed Be the Hour). Sung by Nedelia Kirova, 56, of Golentzi,
20
Lorn, December, 1926. Notated by Christo Iliev.

M.M. ^=200

Pro-kletdae tos chas, mai-ko koi-to me-ne me zgo - dih-te.

The bride curses the day that her mother forced her engagement to a man she
did not love, for her lover had fallen ill and died of grief on the day of her wed-
10
Ibid., p. 388, No. 1569.
20
Ibid., p. 686, No. 2593.
g6 Structure

ding. ceremonies are taking place in the church simultaneously; her own
Two
wedding and the funeral services of her beloved.
Four measures in each group. A pattern of (11/16 + 11/16 + 5/16 -f 5/16), re-
peated twice (example 168).
Example 168. Pofdlila se Milkina mdika (Milka's Mother Bragged). Sung by Diko Petkov,
63; Kolio Stepanov, 65; Nacho Tzachov, 53; Lalo Gechov, 53; Tzaki Christov, 53; and Kocho
21
Neshov; all of Rakita, Lukovit, February, 1928.

I. J^sS304

Mil-ki-na mai-ka, ko - la - do le,

Po-fa-li- la se

Milka's mother bragged

That there was no girl like Milka.

Five measures in each group. A pattern of 2/4 + 3/4 + 2/4 -f 2/4 4- 3/4), repeated
twice (example 169).

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

M.M. J = 140

- le.
-
le, Ve-lo le, go-lem gia-vo
le, go-lem gia-vo

What a flirt you are, Vela,

Don't cause me any trouble,
For I have troubles of my own
And have no time for yours.
Six measures in each group. A pattern of (2/4 + 2/4 + 3/4 + 2/4 + 2/4 + 3/4),

repeated twice (example 170).

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

I Oil bre of chir che, shlia-gar

?
che,

PS^|
za-shto ti e sta do blei-na - lo?

"Oii, bre ofchirche, shliagirche, "Oh, young shepherd, pray do tell us

Zasht6 ti stido bleinalo Why your flock is sadly bleating.
Dali ti st^do ialovo Is it because they are barren,
Hi ti stddo bolnidvo?" Or because they all are ailing?"
88
id., p. 1 7, No. 78. Ibid.* p. 175, No. 755. Ibid., p. 698, No. 2657.
 Structure 97
"Niti mi e stado ialovo, "My herd is not at all barren,
Niti ml e stado bolniavo, Is not barren, nor is it ill.
Nel mi e surdtze raneno, It is my heart that is wounded,
Che mi se libe sgodilo For my sweetheart's being engaged
Prez deVet sela v dese"to Nine villages away from here
V des^to selo Negotin." In the village of Negotin."

THREE-GROUP STRUCTURES
Two measures in each group.- A pattern of (13/16 + 9/16), repeated three times
(example 171).
Example 171. Oii, Leno (Elena, the Green Hay Is Burning). Sung by Tzana Marinova, 40,
of Krushovitza, Pleven, March, 1928. Notated by P. E. Stefanov. 2 *

M.M. Jl 320 t

Oil, Le-no, Le -no, E - le - no, Iz -

go - re se - no

ze - le - no, iz -
go - re se - no ze - le -no.

Three measures in each group. A

pattern of (7/16 + 5/16 + 9/16), repeated three
times (example 172).

Example 172. Libe Petkdno (Sweetheart Petkana). Sung by Kana Todorova Kotzeva, 45, of
25
Virovsko, Bela-Slatina, December, 1927.

Li - be Pet -
ka-no, Pet-ka-no, ia-ze shte li-be

da
* *
i - da
----'
na voi
ni - tzi-te gla-va-tar.
The newly married husband has to depart for the front, and leaves instructions
for his wife to be faithful. But he is careful how to phrase his advice:

Sweetheart Petkana, when I go,

Don't wear your bridal finery,
Don't go early to fetch water,
Don't you go near Gurgul's fountain.
Gurgul's name's not all it might be,
And you know how neighbors gossip.
Four measures in each group. A pattern of (9/16 -f 5/16 + 5/16 + 9/16), repeated
three times (example 173).
24
Ibid., p. 322, No. 1344.
23
1 bid., p. 439, No, 1732.
98 Structure
Example 173. ftkrdde Todor (Todor Stole Stoian's Oxen). Sung by Todora Ilieva, 40, of
20
Mitrovtzi, Ferdinand, October, 1927. Notated bv P. E. Stefanov.

maa-li vo-lo ve.

Five measures in each group. A pattern of (9/16 + 9/16 + 7/16 + 7/16 + 9/16),
repeated three times (example 174). It is interesting that each group should change
meter at the last measure, just to set one syllable. That might easily have been
done with a measure of 7/16. It was probably felt that the transition from one
group to another each setting a new strophe would be much smoother if the
meter of the new line were introduced at the end of the old, giving a natural semi-
cadential effect to each line.

Example 174. Zdlba (Grief). Sung by Ivana Ivanova, 30, of Gorna-Luka, Ferdinand, Sep-
7
tember, 1927. Notated by P. E. Stefanov.-

M.M. A 304
Ne me e zal-ko, ma-le le, che she se o - ze -
ni,

ne me e zal-ko, ma-le le, che she se o - ze ni,

no me e zal-ko, ma-le le, che bli - zo doi - de\

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

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

FIVE-GROUP STRUCTURES
The illustration (example 175) is based on a pattern of (11/16 + 5/16 + re-
5/16),
peated five times.
20
Ibid., p. 829, No. 3088.
27
1 bid., p. 327, No. 1363.
 Structure 99
Example 175. Id stdni,
Stdno (Get Up, Stana). Sung by Tako Atanasov, 75, of Golentzi,
8
Lorn, December, 1926. Notatcd by Christo Iliev.-

M.M. ^ =

s
360

la sta-ni, Sta-no, io -
tvo-ri,
rriiM P ?
ne-mo-zem a-go,
PP
da

sta-nem, da sta-nem da ti o tvo-rim, ba-shta mi le-zi

*
zad vra-ta,
^
ma - na - ra mu e iu ru -lea.

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

Example 176. leleno, mome hubava (Elena, Pretty Maiden).

M.M. &z 304

J ig - ff m ^ JTT^TJl J3 r -
?^~r ^ ^ ^ 9 J J^
d3k
.ra 16 r p
I
p
-
^^ 16
le-no,mo-me
1
yj^J gLf p
hu - ba -va,
I

I
I<T[
I -
p
ff

p^T*
le-no, se-no
I
1
w
1^>

ze-le-ho,

mli-di-te mom-tzi ko -
si-li, mla- di-te mo-mi be - ra-li,

I- le-no,se-no ze - le - no I -
^
le-no, mo -me hu-ba-va

melody of this folk song is extraordinary. The 13/16 is a measure

interest of the
of six a half beats, more or less subdivisible into 4/8 + 5/16 (example 34),
and
whereas 9/16 is a measure of four and a half beats (see discussion on pp. 29 ff.,
and example 2/8 + 5/16. Comparing 4/8 + 5/16 with 2/8 + 5/16, we see that
29), or
the difference 2/8, or two beats. In the first measure, which consists of six beats,
is

the first two beats are combined, so that the entire measure sets only five syllables.
This device is consistently used throughout the song and provides leleno four times
and mlddite twice with the proper stress.
The treatment of 9/16 is similar, the measure setting only three syllables in all
instances. (See example 31 and the discussion on 9/16 in connection with examples
29 and 30.)
The interrelationship among the groups is also unique. The entire structure
divides into three groups of four measures each. The second group contains ele-
28
1 bid., p. 322, No. 1346.
1OO Structure
ments of the first group (measures seven, eight); the third group would have been
an exact repetition of the first had it not been for the second measure before the
end, which comes from the second group. The entire structure divided in this
manner is as close as we have come, in the examination of Bulgarian folk music,
to an frustration of the ABA type.

REGULARLY REPEATING GROUPS CONSISTING OF DIFFERENT

NUMBERS OF SIMILAR MEASURES
Only rhythmic structures with unusual schemes are illustrated. Among them are

four-group structures with the following combinations:

Pattern of 2 + 3 + 2 + 3, as:
(8/36 + 8/36) + (8/16 + 8/16 + 8/16) +
(8/16 + 8/16) + (8/16 + 8/16 + 8/16).
Pattern of 2 + 4 + 2 + 4.
Pattern of 3 + 2 + 3 + 2.
Pattern of 3 + 4 + 3 + 4.
Pattern of 4 + 2 + 4 + 2.

Pattern of 4 + 3 + 4 + 3.

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

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

Example 177.

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

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

^^
M.M. JrlOO

Mai * ka I - rin -
^-^

ka - dia -
va, etc.

m
 Structure 101
Notice the interesting modulation in the third group.
~ ~
Pattern of 6 + 3

REGULARLY REPEATING GROUPS OF DISSIMILAR MEASURES

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

Example 179. Sung by Spaska Stoilova, 22, of Zivovtzi, Ferdinand, October, 1927. Notated
30
by P. E. Stefanov.

V
^^

Sn6 - shti doi-de chuz-di iu - nak u nas

na ko -
nak, sno - shti doi - de chuz - di

iu nak u nas na ko nak.

Snoshti doide chuMi iunak u nas na konak. A strange iunak came on horseback to the
house one night.
Sed(^ dva dni, sede tri dni, sede" nedelia. He stayed two
days, he stayed three days,
he stayed a week long.
Sutrom rano chuMi iunak konche si st^gna, Then the young man saddled his horse at
the crack of dawn,
la si konche stega, nano, iska da be*ga, Saddled his horse and was ready, ready to
depart,
A rnom^. mu iuzda durzl, mu govori: i When the maiden, the young maiden, held
the reins and spoke:
"Sedi iunak, sedi sirak, sedi ne odi." "Don't go, hero, don't go, stranger, don't go,
please stay here!"

Both the rhythmic and metric structures are very unusual:

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

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

The and third groups consist of twenty-two potential beats each and set eight
first

syllables of the text. The second and fourth groups, while consisting of seventeen
sixteenths each, set only five syllables. The actual number of beats in the melody,
however, reaches the total of thirty-two, setting twice the first strophe, which con-
tains thirteen syllables. The fourteen measures, although of dissimilar metric

values, of either two or three beats, are so handled that there are always two syl-
lables to each measure. (The only exceptions are measures seven and fourteen, the
semicadence and the cadence.) Although the musical scheme of the first half of the

.524, No.2042.
1O2 Structure

phrase is (7 +5 -f 5 + 5) + (7 +54 5), the poetic scheme falls Into a different pattern

altogether: 4-1-4 + 5, thus:

Text Sno-shti doi-de chuz-di iu-nak u nas na ko - nak

Poetic - O - II U - U O -
scansion
b J>
stress
ASYMMETRIC STRUCTURES
These may be constructed in four different ways: by combining groups of similar
measures; by combining groups of dissimilar measures; by incorporating ordinary
and paeonic meters; by the insertion of exclamations, caesuras, or syllables un-
1

related to the text words.

SEVERAL GROUPS OF SIMILAR MEASURES COMBINED

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

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

M.M. * Ji = 60

ife

Iz-liaz-la .... Ba pu -
tia, na pu -
tia,

- -
sus kri-vo pe - ro pet -lio vo, pet- lio vo,

sus kri-vo pe-ro pet -lio -

vo,
PP
ve-ter veil,

ve-tur
^ veii, pet - lio-vo pe
- ro liu - le

PP
liu - le - e
TiT^
siir-tze
>. I J
1

kup-ne
}
- e.

She came out on the street, on the street,

With a crooked cockerel's feather, cockerel's,
With a crooked cockerel's feather.
3i
Ibid., p. 937, No. 2574.
 Structure 103
The wind blows, the wind blows,
And the cockerel's feather sways, feather sways,
And hearts are yearning.
The form of the melody in example 180 may be considered a double period,
the first of sixteen measures
(five groups), the second of fourteen (four groups).
The construction of the second period does not resemble that of the first. The
pattern of the poetry is also different in the second group. In measures two and
twenty-seven, where in the Bulgarian version the name or names occur, they would
vary with the occasion and the locale. This is typical of songs of the refrain or
burden type. The complex rhythmic scheme of the melody will become more readily
acceptable after study of the detailed analysis of the poetic pattern:
First period
Iz-lia-zla na pu-tia/ na pu-tia, (9) 6-syllable strophe, 3 syllables repeated.
Sus kri-vo pe-ro pet-lio-vo/ pet-lio-vo, (1 1) 8 syllables, 3 syllables repeated.
Sus kri-vo pe-ro pet-lio-vo. (8) 8 syllables.
Second period
Ve-tur ve-ii, ve-tur ve-ii, (8) 4-syllable strophe repeated.
Pet-lio-vo pe-ro liu-le-e (1 1) 8 syllables, 3 syllables repeated.
Sur-dtze kup-ne"-e. (5) 5 syllables.
Poetic pattern

(9 + ll + 8) + (8+ll+5)

See also example 33, with the following structural pattern,

11/16: (2 + 2) + (4 + 4);
example 43, 10/16: (2 + 2) + 3; example 51, 12/16: (2 + 2) + (2 + 2) + (4 + 4); example
88, 8/16: (4 -f 4) -f 6; example 89, 2/4: (5 + 5) + (4 + 4) + (4 + 4) + (4 + 4).

GROUPS OF DISSIMILAR MEASURES COMBINED

Here again there are a great many examples. The structures may consist of any-
where from two to ten groups, with different numbers and kinds of measures. Some
of the structural formulas are:

(3/4 + 2/4) + (3/4 + 3/4)

(4/8 + 4/8 + 3/8) + (4/8 +4/8 + 4/8)
(3/4 + 4/4 + 3/4 + 3/4) +(3/4 + 4/4 + 3/4 + 4/4) +
(3/4 + 4/4 + 3/4 + 4/4) + (3/4 + 4/4 + 3/4 + 3/4)
(5/16 + 5/16 + 3/16) +(5/16 + 5/16 + 5/16) +
(5/16 + 5/16 + 5/16) +(5/16 + 5/16 + 5/16 + 5/16) +
(5/16 + 5/16) + (5/16 + 5/16 + 5/16) '+(11/16 +11/16) +(11/16 + 5/16)

On extremely rare occasions the asymmetric schemes are interrupted by unmeas-

ured fragments. In example 62 (p. 49) such an insertion appears twice. This folk
song, which has about forty strophes, tells of an epidemic which has taken the
sister, the brother, and the brother's wife. The mother of the household beseeches
her only remaining son to put on the best clothes of his dead father, for she does
not know how long either of them will live. Since this same story, always connected
with the name Stoian, appears throughout Bulgarian folk song and folk tales in
many variants, it is possible that it is based on an actual incident, otherwise un~
remembered and unrecorded.
104 Structure
different words of
The two unmeasured phrases are identical musically, but set
the text; each phrase sets five syllables. The setting as a whole is very free and there
is no attempt at repetition of any of the musical Ideas until the twenty-first measure.

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

(9/16 -f 9/16 4- 5/16 + 5/16).

ORDINARY AND PAEONIC METERS INCORPORATED

Such combinations (example 181) consist usually of quarter and eighth notes, or

quarters and sixteenths, the sixteenth note retaining its value throughout.
82
Example 181. Sung by Tasa Georgieva, 44, of Chorlevo, Lorn, December, 1926.

M.M. P=

Pav - le la - no gel, Sta - BO

INSERTION OF EXCLAMATIONS, CAESURAS, OR

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

Example 182, Notated by P, E. Stefanov, in RuSintzi, Belogradchik, January, 1926. 83

' ' ' '

*
T I I

Kur-shim ple-tu var-dim se, kur-shim ple-tu var-dim se, hei.

ge-ni, be-ni bu-kli ka-rai, ka-rai du-sho de, u ku-shti-tza

o -
gun go - ri u ku- shti- tza o -
gun go -
ri, hei

f *
ge - ni be- ni, bu~kli ka- rai, ka - rai du - sho de.

*
No. 3584.
Ibid., p. 938,
zU,p. 850, No. 3164.
 Structure 105
The caesura within the phrase is as effective in lyric as in dance-inspired songs.
In many of the examples available, the text is
interrupted temporarily and may
be taken up again immediately after the caesura. It is possible that the words may
have become overfamiliar and the omission is thus aimed at greater variety; or
perhaps the omission has been made at strategic points to give the remaining words
a double meaning. The catalectic verse is frequently found in dance as in songs,
the Macedonian tune from Razlog (Mehomia), example peasants sing as 183. The
they daijce; in the middle of measure six the singing suddenly stops, while the
dancing continues to the end of the phrase. The singing is then resumed.
Example 183. Tri dni i tri noshti (Three Days and Three Nights).

M.M. J =160

m
Tri dni i tri no-shti,
CT
le-le tri dni i tri no
m
Three days and three whole nights,
Le-le, three days and three ni .

In his Illustrovan muzikalen rechnik, Ivan Kamburov gives an interesting mel-

ody (example 184) taken from Dobri Christov's collection of Macedonian folk songs.
3*
Example 184.
*
LiYely _ ^

I will buy her slip

I will buy her slippers,
So she won't go bare
Won't go barefooted.

Elliptic verses are especially common among the humorous, burden, and non-
sense songs.
INCOMPLETE STRUCTURES
Songs incomplete as musical ideas are usually crude and may be only one measure
in length, or perhaps two or three measures long, repeated in whole or in part

(example 185).

Example 185.

So - ki kre - kat gran

-
gan-gar
*Ivan Kamburov, Illustrovan mtizikalen rechnik (Sofia, 1933), p. 108.
io6 Structure
The last note of the fragment is usually on some weak tonal degree and is so
short that the ending is abrupt when the last poetic line is sung. The range of
melodies thus conceived is extremely narrow, and the turtes generally are of impro-
visatory character. At times an exclamation may be added at the end (example 186).
Example 186. Zlatokrila idrebitza
35
(Gold-plumed Partridge). Sung by Maria Tzekova
Peniashka, 84, of Caliche, Orehovo, October, 1927.

M.M. J=60 , /7s

|T
kri ia - re - bi - tza ko
Zla - to - - la

Gold-plumed partridge, gold-plumed partridge,

Sing not early in the meadows,
For they plan to take you captive
And cut off your golden feathers.

Fragments as brief as three measures (example 187) are often so constructed as

38
Example IS?.

Allegro

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

M.M. J = 12O

Po-tai-no Ra - da go - di -
a, po-tai-no Ra- da go-di - a.

The repetition of one degree of the scale, or the repetition of a single pattern, is
often characteristic of the songs studied. Most of the melodies are rather short, in
one part, sometimes in two. Melodies with three distinct phrases frequently have
material which is common to all three parts, as in example 176, but it is not infre-
quent to find the three phrases entirely independent of one another, in ABC
relationship.
The ternary form is virtually unknown. In fact, the humorous song, example
189, is one of the few in which the first group is identically repeated after the
second. (See also example 176.)
33
The syllable ko here does not belong to the text. This song is one of many everyday songs.
According to Vasil Stoin, it is sung in southwestern Bulgaria. The singers climb to the rooftop,
circle the chimney, and pour wine down the
chimney. Until the twentieth century most village
houses were low, one-story buildings with thatched roofs. Stoin, Ot Timok do Vita,
p. 170, No. 734.
^Dobri Christov, Technicheskio stroel . . (Sofia, 1928), p. 41.
.

87
Vasil Stoin, JKuin bulgarskite narodni
napevi (Sofia, n.d.), p. 74.
 Structure 107
Example 189. Sung by Maria Iv. Gonchova, 60, of Staliiska-Mahala, Lorn, January, 1927.
Notated by Christo Iliev. 38

M.M. "= 420 FINE

E
Po-shei e ta-to na vo-de-ni-tza, na vo-de-ni-tza sus ko-les-ni-tza,
che koi shtedoi-de se-ga da doi-de, che ne-ma ma-ma, che ne- ma ta-to.
D.C.
-

\f
sus ko-les-m- tza s ku-sa ma-ga- ri- tza sku-sa lu - zi-tza.
Father has just gone off to the mill,
So come, my young friends, and make merry,
While neither Father nor Mother is home.

Identical musical repetition is quite usual, and may repeat the same text or set
a new strophe or strophes. In the former, the repetition may consist of:
of the first phrase only, as in example 153.
Repetition
Repetition of the second phrase only, as in example 90.
Repetition of both phrases, as in examples 34, 101.
Repetition of the first phrase after the second, which is extremely rare (example 189).

Less usual structures may have any one of the sections repeated an indefinite
number of times, as in example 163 (p. 99), thus resulting in an extraordinary
design. (See alsoexample 165, p. 94.)
Raina D. Katzarova has found the following different formal structures in the
89
epic recitative alone:
AB ABA (transposed a fourth lower) C ABCDD,
AAB ABBB (slightly altered)
1
AA X BCBC
ABB ABBC ABACCD
ABC ABCB ABCC CD X
AAAB AABAB ABCDCD
AABB ABB, B B 3 ABBCBBC
ABAB ABCBCand ABCBC, ABBCDEF
ABAC ABCA,D
In his conception of rhythmic architecture, as in his concept of meter, the Bul-
garian peasant has shown that he is guided only by the desire to express himself
in a way natural for him. The raison d'etre for the tremendously complex forms is
the textual content and not the formal scheme. With his honesty, naivete, and
craftsmanship, the Bulgarian folk musician achieves his artistic ends by methods
which are as instinctive as they are unorthodox.
88
Stoin, Ot Timok do No. 1914.
Vita, p. 486,
88
Raina D. Katzarova, "Dneshnoto sustoianie na epichnia recitativ v Bulgaria," Izvestia na
narodnia etnografski muzei v Sofia.
 CHAPTER SIX

TYPES

categories is at best an artificial one, and like

?
HE TASK of determining
all processes of simplification may be open to divergent interpretations. The
classifications offered here are to be considered chiefly as an aid in the presentation
of the songs. It is inevitable that many will fall simultaneously into more than one
category. In fact, this very complexity of subject matter and device adds much to
the interest of Bulgarian folk music. The thousands of folk songs examined in this
survey have been divided into the following main types: songs of the past, songs of
everyday experience, and songs relating to the supernatural.

SONGS OF THE PAST

Although Bulgaria may not possess a detailed and accurate record of her past, she
is rich in colorful folklore which tells the story in song of brilliant victories,
heroic struggles, and valiant deeds of her leaders. Despite some unavoidable
fictionalization which results when information is passed on by word of mouth,
from one generation to another, in a poetic form to aid memory, the picture of
the past is essentially accurate.
Significantly, folk songs in this category do not, as a rule, date back earlier than
the fourteenth century, which marks the beginning of the Turkish occupation. 1
Nationalism in Bulgarian folk music can thus be seen to have been expressed most
strongly in periods when national freedom no longer existed. The oppression
which deprived the people of their leaders, their literary spokesmen, and the whole
intellectual superstructure fostered a natural resurgence of chauvinistic feelings
among the peasant folk, in their desperate struggle for survival.
Songs of the past include historic songs, hero songs, heiduk songs.

HISTORIC SONGS
These move in the realm of reality and depict concrete events. They deal with
actual names King Shishman, Botio Voivoda, Hadji Dimitur; locales and events
from the history of the country "The Siege of Pleven/' "The Fall of Varna," "The
Dream of Tsar Ivan Shishman," "The Battle between the Turks and the Mosko-
vites," "The "War of 1885."
1
Pencho Siaveikov, "The Folk Song of the Bulgars," The Shade of the Balkans (London, 1904),
pp. 58-66.
 Types 109
These songs are sung with pride by the Bulgarians because directly or indirectly
they reveal what for them is the glorious past of a people who ruled the Balkans
and showed courage and hope in the face of desperation at one time and doom at
another. At the sedenka* at school and on patriotic holidays, the historic songs
find their way into the hearts of the people, in much the same way that the music
itself kept alive, through many centuries of enslavement, the memories of days of

freedom.

Example 190. Obsddata na Pleven (The Siege of Pleven). Sung by Anto

3
2. Beliasin, 55, of
Gorni-Lom, Belogradchik, November, 1926. Notated by P. E. Stefanov.

So - fi-a.
Po Bul-gar-sko fariif se le-e, po krai Ple-ven i

Po Bulgarsko kruf se lee, In Bulgaria there is bloodshed,

Pokrai Pie" ven i Sofia, Around Pleven and in Sofia.
A ot Pleven glas se chuva, From Pleven comes the latest news,
Osman Pasha de tuguva, Osman Pasha is most unhappy,
Tu2i Osman, sulzi roni, Osman worries and sheds tears,
Pa vuf ruka" pe"ro vze*ma. While he struggles with a message.

Ta sultdnu sitno pishe: He is writing to the Sultan:

"Slushai, tzariu, dumite mi, "Listen to my words, O Sultan,
Pokrdi Pleven rusi stoiit, Russians have surrounded Pleven
Me'setzite za dni broiat. Counting months as we count days.
Po krai Pleven rusi mnogu My troops can resist no longer
A ia, tzariu, ve'ch ne m6gu. And the Russians will seize Pleven.

"Prati p6mosht, hrabri tzirui, "Send some help to me, brave Sultan,
Na Osmana, gospodariu, Send help to Osman, my lord.
Ne*man hrand, ni dzepana, We've no food, no ammunition,
Ina rusi sMgam glava" ." And the Russians overwhelm us."
Abie" turtzi svi ahmdti, O you Turks, O foolish people,
Ta zashto ste svi glupitzi. You will all pay for your folly.

The the attempted rhyming, an

poetic text is unusual in two ways: because of
extremely rare occurrence in Bulgarian folk song; and because of several excep-
tional expressions and words. Osman Pasha, the Turkish defender of besieged
Pleven against overwhelming odds, merely grieves (the verb used is tuguva); he is
"most unhappy/' an understatement made obviously for artistic reasons. A military
leader who and himself might be expected to
faces the destruction of his troops
show more emotion than is conveyed in the word tuguva. This word was selected
because it rhymes with chuva ("to be heard"), and still gives a picture of the sad,
depressed Pasha.
So well are the Russians equipped that they can last as many months as their
opponents can last days almost indefinitely, it seems to the Pasha.
The idea is
2 a working bee.
Sedenka, literally, a "sitting"; in villages,
8
Vasil Stoin, Narodni pesni ot Timok do Vita (Sofia, 1928), p. 777, No. 2916. Hereafter cited as
Ot Timok do Vita. Pleven, a city in the Danube Valley of southern Bulgaria, was a strategically
important stronghold during the Russo-Turkish War.
 no Types
expressed graphically "counting the months as days." To give a further realistic
touch to the Pasha's plea, the Turkish word for ammunition, dzepand, is used. The
word not only adds realism and color to the entreaty, since presumably the Pasha
would have written his message in Turkish, but it seems to bring life to the
poem
as awhole. Moreover, dzepand rhymes with the last word of the line which follows
to form a couplet and at the same time it
provides an internal rhyme within its
own line:
Neman hrana, ni dzepand
1 na rusi slagam glavd*

What establishes beyond doubt that this device is not a coincidence is the fact
that the singer from whom the folk song was recorded had accented the three
words in question (italicized) as indicated. It would have been equally correct
in Bulgarian to have on the first syllable in both hrana and glava,
placed the accent
and equally easy, if not even
easier, from a musical point of view, since both words
fall in the first of the on the
part measure, primary accent,

HERO SONGS
The songs which of the favorite heroes of the people are a mixture of two
tell

elements: the historic, because they do

frequently correspond to actual events, and
the fictitious, because also recount the exploits of a person of rare, if not
they
supernatural, abilities and achievements. Some of the stories give definite places
and names of the characters, whereas others mention neither. The subject matter
and communal welfare, the solutions resulting from un-
often deals with justice
usual bravery andingenuity on the part of the hero, often through the use of
magic power. The majority of these songs came into existence during Bulgaria's
5
struggle for national independence.
Among the heroes of these songs, Krali Marko is the chief protagonist. Claimed
by Serbians and Bulgarians alike, he is part of the national folklore of both
countries. It is probable that he was Serbian
by birth and was a leader of Bul-
garians. He is mentioned in history only in that he became a Turkish vassal of his
own free will. Tradition has it that as a Turkish vassal he was able to
help and
protect the people under his rule. He is supposed to have been killed in the battle
of Rovina, Rumania, on October 10, 1394, while
fighting with the Rumanian
leader Mircea.*
Because there were no leaders to
help them in their dark hours, the Bulgarians
distorted the actual facts about the heroes
they did have, to glorify them as truly
magnificent leaders. There is no doubt that with Krali Marko, as with other heroes,
the songs originated
immediately after some actual event, but as succeeding genera-
tions transmitted the
poetic account, authentic facts weregradually altered, the
truth was transformed into
legend, and, so that the heroes might capture the
imagination of the simple folk, considerable embroidery was added to the
original.
Eventually, the name Krali Marko emerged as a symbol of Slavic
courage, power,
*
Glavd, "head/' The literal translation of this line is, "And to the Russians I bow my head."
5
Mihail Arnaudov, "Folklor ot Elensko/' Sbornik za narodni
umotvorenia i narodnopis
Vol. XXVII (1913), pp. 106-109.
8
Slaveikov, op. cit., pp. 57-58.
 Types 1 1 1

7
and glory. Just what manner of hero Marko was may be seen from the following
account:

Example 191. Krali Marko. 8

Moderate

Mar-ko, Mar-ko, Kra-li Mar-ko,

^
i*
'
m

ti mi ia -
desh,

ia -
desli, pi - esh puk ne zna -
esh, Kra-li Mar-ko.

"Marko, Marko Krali Marko, ? "Marko, Marko, Krali Marko,

Ti mi iadesh, iadesh, piesh, You are loafing, eating, drinking,
Puk ne znaesh, Krali Marko, Little knowing, Krali Marko,
Sel6to su bastisali That your village has been ravaged
Trista turtzi anadoltzi. By three hundred Turks of Anadoli.
Maika ti su zakolili, They have slaughtered your old mother,
Sestra su r6b robili,
ti And imprisoned your own sister,
Libe ti su v plen plenily." Your sweetheart they've made captive."
Che mi stana Krali Marko, To his feet sprang Krali Marko
Ta obleche ch^rno raso, And he donned a long black cassock,
Ch^rno raso kalugersko, Long black cassock such as monks wear.
Ta vuzsedna burzo k6nche, Marko mounted his swift horse, then,
Ta pripdsa ostra sabia Girding on his sharpest saber,
I otide v tehno sdo, Fast he rode back to his village,
Che izkoli trista turtzi. All three hundred Turks beheaded.

The Krali cycle is best known in southwestern Bulgaria, where

Marko song it

originated. legendThe
of Marko is gradually disappearing in other regions, in

fact throughout the country. In many songs his chief virtues are those of cunning
and trickery. The Bulgarian proverb, "Where heroes are scanty, there Marko is
hero/' shows a tendency to regard his powers with some cynicism. The songs tell of
wholesale burnings, torture, and pillage; in all clashes, Marko emerges victorious.
The hero song follows the epic tradition, and as such is objective. It is the poetic
and musical counterpart of the folk tale, which also deals with adventures of
heroes and heroines.
HEIDUK SONGS
Like the other songs in heiduk songs have historic implications.
this section, the

They are closest to the people, however, because the peasants witnessed the feats
of the heiduk; suffered with his failures, rejoiced at his successes, mourned at his
crossless grave. To them the heiduk was a hope for deliverance from slavery, a

protector against the brutality of the heterodox. And the folk showed
its
apprecia-
tion with the most precious creation of its soul with its song, which even today
is heard throughout the land like an echo of a long-vanished epoch.

Who is this heiduk? The dictionary describes him as "robber, brigand, thief,

7
Arnaudov, "Folklor ot Elensko," p. 107.
8
Ivan Kamburov, Bulgarski narodni pesni (Sofia, 1940), p. 96.
9
Arnaudov, "Folklor ot Elensko," p. 252.
 1 1 2 Types
10
bandit, outlaw, revolutionary/' The meaning which occupies the least preferred
position in the dictionary is, to the Bulgarian, the only correct one. When a Bulgar
could no longer endure conditions under the Turks, he took to the mountains,
where he joined other citizens like himself, who, under the leadership of a voivoda, 11
for many years presented the only organized resistance to the foreign lords. The
heiduk was therefore a liberator; he helped his people wherever he could, seeking
revenge when opportunity offered itself, and showing no mercy to the oppressor.
Because of their powerful sentiment and sincerity, heiduk songs represent some
of the most beautiful creations of Bulgaria's spirit, comparing favorably with the
more sophisticated art song.
The Byzantine 12
chronicler Nikifor Gregoras, who traveled widely on the Balkan
Peninsula, relates that in 1326, while traveling to Serbia across the Macedonian
mountains, one evening he heard his guides singing songs which he described as
sad and monotonous, dealing with names not known to him. Those were the songs
which told the stories of many national heroes whose names have survived to the
13
present time, six centuries later.

Example 192. Zaradi Indje voivoda (Weeping for Indje voivoda). Sung by Christo Niko-
1*
lov, 78, of Gurkovo, Vidin, December, 1926. Notated by K. Zagorov.

M.M.J s 120

-
Za-pla-ka-la e go-ra-ta s go-ra-tai pla ni-na-ta.

Zaplakala e gorata, The forest has begun to weep,

Gorata i planinata, The forest and the mountain,
Zaradi Indje voivoda: Weeping for Indje voivoda:
"De"ka e Indje da doide, "Where is Indje? He must come,
Da doide da ni oslobodi." Come and liberate us."
The close alliance between the mountains and the Bulgarian people has always
been emphasized in the folk song. The forest, which has given
refuge to the heiduk,
here laments his sudden disappearance. A strong nature element is characteristic
of the heiduk song; in many of the heiduk
songs the suggestion of forest and moun-
tain, of sky and earth, is so predominant that it amounts to a sort of
pantheism.
There is some justification, however, for the misunderstanding of the term
heiduk, even among Bulgarians. As the Ottoman Empire began to degenerate
gradually, many of the pashas and bets severed their connections with the central
government in Istanbul. With whatever army they could entice away, they struck
out for themselves. There followed many years of violence, plunder, and virtual
10
Constantine Stephanove, Pulen Bulgaro-Angliski rechnik
(Sofia, 1914), p. 830.
11
Voivoda, a chieftain, a leader. There are instances of women who became voivodi; folk
many
songs tell of their courage and valor.
12
Slaveikov gives the name as Gregor Nikeforos and
places the incident in 1325. Both Slaveikov
and Ivan Kamburov have taken the story from Konstantin
Jierecek's authoritative book, Kniazestvo
Bulgaria.
ls
Singing in the mountains is a Bulgarian tradition. Throughout the year, and especially at
night, the mountains carry the echo of folk songs over ravines, summits, and forests.
31
Stoin, Ot Timok do Vita, p. 790, No. 2963.
 Types 113
anarchy, marked by skirmishes between the central Turkish forces and those of
the independent feudal lords. All this made life so intolerable for the native

population that many of them took to the mountains and from there sought to
avenge the sufferings and bloodshed of the defenseless. Among these mountain
heiduks (or haramias) were some who could not resist the
temptation of exercising
their new-found liberty and
power in unscrupulous ways, and thus became real
bandits, adding to the terrors of the peasants. And, although there are many songs
relating the misdeeds and cruelties of such criminals, the concept of the heiduk
on the whole stands for something very like the French Resistance of the Second
World War or the Balkan guerrillas who protected their fellow countrymen from
the oppressors and more often than not gave their lives in the cause.

SONGS OF EVERYDAY EXPERIENCE

This classification includes love songs, songs of family life and national customs,
Christmas carols, songs for time of drought, songs about nature, humorous
songs,
work songs, and children's songs.
Here we find the widest variety of subjects, moods, and emotions described:
stories of love and work, of satire and nature; comments on the life and character
of the people the shepherd, the peasant, the housewife; themes dealing with hos-
pitality,songs which tell as accurately as possible of the man and his occupation,
of his relations with his family, his kinsmen, his fellow men;
songs of infidelity,
seduction, marriage. Many of the songs tell of specific events which have broken
the prosaic daily routine of the village. Such
songs were popular locally as long as
the event itself was of interest. A few generations later, as the vivid details grew
fell into disuse and were
dim, those songs supplanted by others which told of
fresh or contemporary incidents. Therefore it must be borne in mind that many
of these songs are of more recent origin than those in the other two categories.

Songs which have continued to hold the interest of the folk for many generations
are obviously of broader scope and more universal appeal, or have come down to
us because of the unusual beauty of the melody, the poetry, or both,

LOVE SONGS
Like the love songs of other countries, those of Bulgaria are more numerous than
15
any other kind of folk song. They are "the most poetic for the intimacy of their
10
emotion, for the versatility of their expression, for their tender melancholy/'
Conspicuous numbers of songs call attention to the more unusual manifestations
of passion love acquired through bribery or kidnaping, suicide pacts, unrequited
love. It is
important, however, to note that the unorthodox aspects are treated with
extreme dignity and discretion. In singing of extramarital love, as he must if he
is a true and impartial historian of his village life, the folk singer invariably
presents his story in a manner that will not offend his audience. The realism with
which the stories are related is, nevertheless, extraordinary.
In the normal phases of love, the songs are saturated with idealism and passion.
13
Of the 5,500 folk songs which Christo Obreschkoff examined for his study, about 1,800, or
approximately 33 per cent, were love songs. Das bulgarische Volkslied (Leipzig, 4937), p. 3L
18
Slaveikov, op. cit.f p. 70.
 ii4 Types
One does not have to look far for the reason, since most love songs are composed
and sung chiefly by the younger men and women of the community.
Example 193. Sung by Ivanka BL Brusova, 32, of Butan, Orehovo, September, 1927."

M.M. J =$0

na zve zdi - te du - ma she.

Stoian sus svirka svireshe Stoian played on the shepherd's flute,
Ina zvezdite dumashe: And thus to the stars he spoke:
"Zvezdo le, vechernitze le, "O evening star, O evening star,
Kato si tolko visoko, While you're shining high above us,
VIdish li dole shiroko? Can you see the world below you?

"Sedut li kak si sedea "Do they still meet at sedenkas?

Momite na sede*nkite And my sweetheart is she with them,
I moito libe tarn li be*?" With theyoung girls as they gather?"
Zve*zda Stoiano dumashe: The star replied to young Stoian:
"Stoiane, mlado ovcharche, "Stoian, young shepherd, lone Stoian,
Sedut si kak si sede*a They still gather as they used to,
I tvoito libe tarn be"she, And your sweetheart is among them,
Sresheno, neoblecheno, Deeply grieving for your absence,
Za te"b Stoiane 2ale*e." She is plain and unadorned."

This pure, unpretentious composition is one of many in which separation has

stirred tenderemotions of nostalgia and longing. Although most of the love songs
are composed from the feminine point of view, those which tell of the separation
of two lovers are usually sung by the young men. This is partly because it is the
men who are most frequently away from home, but also because the women by
tradition are more reserved in their protestations of love.
A great deal of the color in this melody is due to the interval of the augmented
second, around which the melody is woven. It gives a sentimental and haunting
quality, a feeling of gentle melancholy, modified by anticipation and hope. A
subjective intensity runs through the Bulgarian love songs and, when heightened
by a traditional reticence, differentiates these songs unmistakably from those of
other eastern and middle European countries. The musical thought is concise; the
slightly modified repetition further emphasizes its logic.

SONGS OF FAMILY LIFE AND NATIONAL CUSTOMS *

SONGS FOR ENGAGEMENTS

Thursday the day chosen to announce an engagement, often the
is
Thursday
before the wedding, since long engagements are not
popular in Bulgaria. On that
day the young couple go to the nearest town to shop for the bride's wedding
a PP are * ve ** flowers, dress, shoes. The
prospective groom pays for these articles
and takes them home with him. That evening, relatives assemble at the groom's
1T
Stoin, Ot Timok do Vita, p. 463, No. 1822.
 Types 115
home, each woman Then they
bringing a loaf of bread. go to the home all of the
bride-to-be, carrying her wedding costume with them. There they have a late
dinner, during which there are ceremonies which vary with the locale. The bride-
to-be receives gifts, and there is much merrymaking, drinking, and singing a sort
of kisty village version of a bridal shower, for mixed company.
18
Example 194. Gosti go deznitzi (Engagement Guests).
Allegro

- ui tzi.
go-stl go-dez
Gosti mi su doshli, I have guests this evening,
Gosti godeinitzi, i t.n. Guests for the engagement, etc.

This is one of the older melodies connected with these festivities. In addition to
obvious melodic and intervallic characteristics, it is worth calling attention to the
unusual structural design: there are ten measures in the melody, divided into three
groups of three measures each with an extra measure after the second group
(measure seven), which has an exclamation that is not part of the text. Measure
seven is an echo of the third measure. The half cadence (measure six) is identical
with the final cadence, so that there are only five melodically different measures in
a total of ten.
WEDDING SONGS
The songs sung during the preparation for the wedding and throughout the day
of the ceremony are among the most colorful of all Bulgarian folk songs. They
differ from region to region, since wedding customs follow local patterns. But the
marriage celebrations always last for several days, in the course of which a whole
group of traditional songs will be sung. Often there are as many as thirty to forty
lfl

songs in such a cycle. Examples 195204 depict some of the highlights of the week-
20
long festivities.
18
Stoin,Narodna pesnopoika (Sofia, 1930), p. 84.
19
Most wedding ceremonies take place in winter, long after the work in the fields has been com-
pleted. Ecclesiastical doctrine dictates the setting of the date according to the church calendar;
hence the actual ceremony invariably falls on a Sunday. Usually a full week of complicated ritual
precedes the event.
20
The names in the songs are given as they have been recorded. The appropriate names of the
bridal couple are of course inserted to fit the occasion.
 n6 Types
Example Thursday: announcement of the engagement and preparation of food
195. at the
21
house of the bride-to-be. Sung by Ivanitza Ivanova Doncheva, 19, of Mindia, Elena.

M.M. J >80

chis -
Vuf mo -ma - ta bul -
gur tiat,

Vuf momata bulgur chistiat,
Vuf ergenia haber niamat
"Mari Tz^no, luda mlada,
Kogo pitash da se znish,
Dal Borisa mlad gidia?
At the girl's house they plan a wedding,
But at the boy's nobody knows it.
"Ah, thou Tzena, young and playful,
Who do you think you will marry?
Is it Boris, young and valiant,

Toi te luze, toi te mami,
Kushtata mu na bairia,
PleVnika mu, zad bairia."
Istekla mi ii tunka elha,
Vuf Tznino ravno dvore,
Koi kak mine klonche chsne,
Mina Boris, istrugna
Zanese ia na mdika si:
"Na ti mamo, tuzi elha,
Presadi ia vuv gradinka
Pod iabulka moruianka,
S ruino vino ia polivai,
S ruino vino trigodishno."
Prepadnala ii tiimna mugla,
Vuf Tz^nino ravno dvore,
Biala Tz^na po dvor h6di,
Po dvor hodi Boga moli;
"Stori, B62e,den godina,
D<^n godina, nosh nedclia,
Da pohodia da pogledam
Iz bashtino ravno dvore,
Jz maichino kaldurumche."
Who deceives you with false pledges?
His house is the wooded hill,
His barn and silo behind the hill."
There was a tender alder tree
In Tzena's garden.
Whoever passed by plucked off a branch.
ia, When Boris passed, he uprooted the whole tree
And carried it to his mother:
"Here, Mother, take this alder,
Plant it in our garden
Under our apple tree.
Sprinkle it with red wine,
With red wine three years old."
Dark fog fell in Tzena's courtyard,
Fell on Tzena's level court.
Fair Tzena paced the courtyard,
And whispered as she paced:
"Let the day, God, last a year,
The day a year, the night a week,
So that I may freely enjoy
So much longer my father's hearth
And my mother's tender care."

Example 196. Friday morning, as trie unleavened bread is being baked. Sung by Rada
Tzaneva, 38; Maria Miteva, 50; Dona Tanchova, 44; Ivanka Diurova, 45; Pena Iv. Kazakova,
22
SO; Tzveta Velichkova, 34; of Stanchov-IIan, Drenovo.

M.M.J = 270

Na er- ge-nia za-sia-va-me na mo-ma-ta za-pia-va-me, ka-li-no mo-ia.

Na erge*nia zasiavame, For the young man we begin sowing,

Na momdta zapidvame, i t.n. For the young maid we begin singing, etc.

^Stoin, Narodni pesni ot Sredna Sevema Bulgaria (Sofia, 1951), p. 207, No. 589. Hereafter cited
as Ot Sredna Severna Bulgaria.
 Types 117
Example
23
197. Preparing the garland of flowers. Sung by Monio Marinov, 48, of Vurzulitza,
Svishtov.

M. M. J = 180 _

Vi - la se vi - la lo - za vi -
na,

i P
che sa iz vi - la o - ko lo gra - da.
A vine winds, a grapevine
Winds around the whole town.

Example 198. As the bridegroom is being shaved. Sung by Donka Nikolova, 20; and Petra
2*
Petkova, 24; of Drenta, Elena.

hu - ba - vi mo- mi, ma-mo, po """-""^ liu-Mh.

At least, dear Mother, I was long enough a bachelor
To make love, Mother, to many a pretty maiden.

Example 199. Saturday. Sung by Maria Tzurnova, 34, of Novo-Selo, Troian. 25

M.M. J ?75

Gle - dai me, gle -

dai, sta-ra ma-le, na -
gle-dai mi se,

sta-ra ma-le, na -
gle
- dai mi se.

Gledai me, gledai, Look at me, oh, look

Stara mile, My dearest Mother.
Nagl^dai mi se Gaze long upon me
Dn6ska sum tuka, While still I am here.
t)tre mu n^ma. Tomorrow I leave.
Che shte da doidat, For then they will come,
Che shte da stana On Sunday early
Rano f nide*lia, I shall awaken
Shte se omia, And braid my long hair.
23
/&;<*., p. 215, No. 619.
>M
Ibid., p. 217, No. 627.
n8 Types
Shte se upltu, And in my finest
Shte si obleku I adorn me,
shall
Moiata premiana, For all the young folks
Che shte da doidat Will come to fetch me
Mladi iunatzi, All the young gallants,
S mladi devoiki, And the young maidens.
Shte me zavedut Off to the nexv church
F n6vata chrkova My friends will lead me,
Shte me venchiat There to be wedded
N6vi pop6ve. By the new parsons.

Example 200. Sunday: draping the bridal veil. Sung by lordana Stoianova Boikova, 30,
86
of Ruhovtzi, Elena.

M.M. J=92

Pre-ve-di sa pre4do-ni sa, mar Ma -

rii-ke,

i
che ti i - de krus-nich-ka-ta, nar Ma rii -ke.

Prevedi sa, prekloni sa, Come, thou maiden, bow your head,
Mar Mariike, O Mariika,
Che ti ide krusnichkata, Your godmother cometh now,
Mar Mariike, O Mariika,
Che tivodi godenika Bringing your betrothed with her,
I ti nosi b^lo bulo, And a pretty bridal veil.
Shte buli tunka snaga,
ti She will drape your slender figure,
Tunka snaga, bialo litz^. Slender figure, lovely face.

27
Example 201. When the bride-to-be is
ready. Sung by maidens of Sheitan-Mahala, Elena.
M.M. J: 120

SUt - n - na no f ni - de - lia.

Izgrel mi, idsno slunchitze, Shine forth up in the sky, Bright Sun,
Sutrina rano f nid^lia, Early on this Sunday morning,
Da vidish, idsno slunchitze, So that you may see how, Bright Sun,
Kak dlut r62ba ot rnaika, A daughter's torn from her mother,
Ot mili bratia i s^stri. From dear sisters and brothers.
Nahodi li se, Mario, Did you live
enough, Maria,
Po bashtini si dvorove, Safe within your father's courtyard?
Nagl^da li se, Mario, Did you gaze enough, Maria,
Na bashtini si sarii, Walking in your father's garden?
28
Ibid., p. 219, No. 637.
27
Ibid., p. 222, No. 648.

Naduma li se, Mario,
Na tvoita maika bashta,
Na tvoite sstri bratia?
Pri drugamaika shte idesh,
Pri drugamaika i bashtd,
Na druga maika shte dumash,
Na druga maika i bashta,
Na drugi sestri
Types
Did you talk enough, Maria,
i With your mother and your father,
i With your sisters and your brothers?
For you go to a new mother,
Another mother and father.
You will talk with a new mother,
With a new mother and father,
i bratia. With other sisters and brothers.

Example 202. The bride leaves her home. Sung by Velika Petrova and Maria Nedelcheva,
of Gradishte, Sevlievo. 28

Ne te li mi-lo, Ma-ri-o, ba-shti no do - rL

Ne te li milo, Mario, bashtino dori, Will you not mourn, Maria, for your father's
courtyard,
Bashtino dori, det go mite'shi, Your father's courtyard that you always swept,
Bet go mitshi sus klon bosiliak, That you always swept with boughs of basil,
Sus klon bosiliak, sus klon liuliak? With boughs of basil, with boughs of lilac?

Example 203. The procession arrives in front of the groom's house. Sung by Rada Dru-
meva, 70; and Minka Marino va, 45; of Balvan-Mahala, Veliko-Turnovo. 29

M.M. = 60

P 3
Ot - va- rai por-ti, mom - ko - va

i
ma mo, po - mosht ti vo - dim.

Otvarai porti, Open wide the gates,

Momkova niamo, Mother of the groom,
Pomosht ti vodim, We bring a helper,
P6mosht ti vodim, We bring a helper,
Pomosht otmiana, A help and relief.
Da te otmeni She will relieve you,
Ot kobiltzata, Carry the water,
tit kobiltzata, Carry the water,
Ot buhalkata. And do the wash.

Example 204. Wedding dance. Sung by Ivanka Pop. Petrova, 58, of Radiuvene, Lovech. 1

M.M. J = ICO

Za-da-de sa,Stu-ie-ne
P te
le, tiim-na
^
mug-la,
u

H-be le,
iia

li-be le.
1

28
Ibid., p. 228, No. 671.
^rtn^p^S^No. 690.
30
Ibid., p. 236, No. 702. This is one of many wedding songs which are sung by the dancers them-
selves as they dance.
1 20 Types
31 81
Zadade sa, Stuie~ne le, see dark fog, Stuiene-le,
I

Tumna mugla, libe le. Very dark fog, sweetheart-le.

To ne bilo, Stuiene le, It is no fog, Stuiene-le,
Tumna mugla, libe le, No dark fog, sweetheart-le,
Mi ie" bilo, Stuiene le, But is instead, Stuiene-le,
Silna svadba bulgarska. A brilliant village wedding.
For each step In the preparation of the wedding and for every day during the
week which precedes the ceremony there are special songs. They are addressed to,
or designed to be sung by, the prospective bride and groom, their parents and
various relatives, the best man, and so on. They are sung as the wedding cake is
table and at almost
being baked, as wine is poured; they are sung at the wedding
any point in the elaborate procedure when the wedding party, well-wishers, and
guests gather together. The lyrics are concerned chiefly
with good wishes for the
young couple's future, with touching farewells to the bride. Many of these songs
reveal a strong sentiment that for the two newly married young people the care-
free days are over, that the new life may prove to be as difficult as it will be
different.

Many songs speak of the dark clouds which descend over the bride's house and
the sunshine in the house of the groom. This symbolism is highly indicative, for
while the bride's family mourns the loss of an able worker, the groom's family
rejoices in the addition of a young woman who
will take over the sole responsi-

bility for the household duties. The "bride," as she continues by tradition to be
called in her new home, replaces her husband's mother at home and in the fields.
Since the folk singer and poet is
primarily a realist, he objectively portrays the
unpleasant as well as the pleasant aspects of marriage. A large number of songs
tell of the impossible situation in which the bride may find herself when there is

a clash of personalities with the husband's mother. Life is indeed unbearable for
the bride, the mother-in-law reporting to her son that his wife is

Lazy at home and

La2y in the fields.
She visits with friends
And visits with her family,
And while you are away,
She visits. She visits and drinks.

According to the national folklore, such accusations, however unfounded, may

enrage the husband to the point of murdering his wife. In several songs, the corpse
speaks, convincing the husband of the jealousy of his mother and the injustice he
82
has done to his wife. repentant husband then takes his own life as well.
The
The construction of the wedding songs is usually simple. The scalewise melody
is
predominant, and the melodic fourths and fifths appear frequently. The plaintive

quality of the melodies and the freedom with which they are built make them
sound rather improvisatory in character, rich in sentiment, intimacy, and warmth.
In the wedding songs, as in Bulgarian folk song in general, the use of the anaphora
is
conspicuous. This serves two purposes: to help in the setting of the text and to
add emphasis.
81
The le is not part of the text; it has been inserted for metric reasons only.
88
Arnaudov, "Folklor ot Elensko/* p. 247.
 Types 121

CHRISTMAS CAROLS
Christmas in Bulgaria falls on January 7 and the holiday celebrations continue
for several days. Many weeks before the holidays, the young people gather in some-
one's house or in the school building, where an elderly person rehearses them in
the singing of traditional Christmas carols. After the midnight church service, the

youngsters, divided into groups, begin caroling on Christmas morning. Dressed in

their holiday best, with dogwood branches in hand, they go from house to house
to sing their songs and walnuts, holiday cookies, home-
receive gifts in return
made sausages and and sometimes money. The leader of the group
candies, fruit,
then offers the best wishes of the young people to the host, his home, family, and
fields, and thecarolers depart singing.
The Christmas carol is among the most vivid of all Bulgarian folk
songs.
Ordinarily the carols are of tempo giusto and dance types. The more interesting
melodies make use of asymmetric meters and are confined within a narrow
ambitus. Carols belong to the rare groups of folk songs which are happy in char-
acter,both melodically and poetically. The numerous song cycles include songs
dealing with specific occasions or situations usual in the holiday period to be
sung for the hostess, a young girl, a bachelor, farmers, shepherds, artisans, hunters,
and so on.
33
Example 205. Kolezddntzi, pesnopoitzi (Carolers, Songsters).

Moderate

Dai-ne ia sta - Brai-no ot - vo - re -

le, ne-te, le, te,

Dai -no le, che vi - dat, Brai-no le, ko-lez - dan-tzi.

Daine le, ia stane'te, Daine le, wake up, get up,

Braino le, otvore* te, Braino le, open the gates,
Daine le, che vi idat, Daine le, to your home come,
Braino le, kolefddntzi. Braino le, young carolers,
Daine le, che vi idat, Daine le, to your home come,
Braino le, bogomoltzi, Braino le, all are praying,
Daine le, bogomoltzi, Daine le, all are praying,
Braino le, pesnopoitzi. Braino le, all are singing.

This is a remarkably lively song. Even at the moderate tempo indicated, the
spirited, full of exuberance and happiness. Musically,
it 'reflects the
melody is

simple but meaningful words, "Here is a group of your neighbors and friends
who have gotten up in the middle of the night to wish you luck, to serenade you,
to pray for you." The melody has an upward trend, descends for contrast, only to
rise again with a striking perfect fifth, the first leap before the third measure. The
initial two measures are repeated; the climbing interval is now a perfect fourth,
the second melodic leap in seven measures. Measures eight, nine, and ten employ
83
Kamburov, op. cit., p. 11.
122 Types
the perfect fourth again. The last two measures form a strong cadence. The melody
consists of two groups of six measures each, with a semicadence on the tonic. Each
group readily divides itself still further into two phrases of three measures each.
Of all the progressions, twelve are repetitions, seventeen are seconds (fifteen
major and two minor), and four are perfect fourths; only one is a perfect fifth.
The interval of the major sixth within which the melody moves helps to give it
an optimistic air; because of the absence of thirds and the predominance of major
seconds and perfect fourths, it has an almost contemporary sound. The craftsman-
ship and taste displayed in this song remind one of the quaint and elaborate
over-all effect of peasant needlework, of fourteenth century woodcarving, or of the
powerful brushwork in native ikon paintings.

SONGS FOR TIME OF DROUGHT

Peperudd* a national ritual, practiced during May and June, usually in times
is

of drought. A
young girl about ten or twelve years old is decorated with greenery.
Accompanied by a group of girls of the same age, the "butterfly" goes from one
house to another dancing, while the rest of the ensemble sings. member of the A
household then comes out and pours water over the "butterfly" while the hostess
throws flour over her head. A
goodly share of flour, as well as butter and cheese, is
given to the girls as gifts. In the bigger cities, gypsies do the dancing. 33 The water is
of course symbolic of rain, and the foliage on the "butterfly"
signifies the crops
which need the rain in order to grow.36
Example 206. Ddi, Boze, duzd (God, Give Rain). 87
Ruc&nenitza tempo, not fast

Pe -
pe - ru - da
m le - te - la,
m
le - te -
la,

m
i Bo - 11 -
la, mo - li - la.

Peperuda letela As the butterfly fluttered

I se Bogu molila: She sent her prayers to God:
"la dai, B62e, dreben duM, "Send, O God, the gentle rain,
Da napoi zemiata, Rain to quench the thirsty soil,
Da porast^ trevata, To make the grass grow greener,
Da si pas^ pauna, For when peacocks eat green grass,
Da si hvurli perata, Brighter plumage they will shed,
Da gi sbirat momite, For the maids to gather up,
Da gi ze"mat raomtzirne." For the lads to steal away."
**
Peperuda,, literally, "butterfly."
33
Kamburov, op. cit., p. 69.
38
Arnaudov, Ocherki po bulgarskia folklor (Sofia, 1934), p. 547.
87
Kamburov, op. cit., p. 71.
 Types 123

SONGS ABOUT NATURE

The people of Bulgaria feel very close to nature In general and to the Balkan
chain of mountains in particular. Although the name "Balkan" on the map
appears over the mountains which spread from Yugoslavia to the Black Sea, the
name is
applied in Bulgaria to any other mountain as well, and has, in fact, be-
come synonymous with the words for "forest" and "mountain." Because the
mountains gave refuge to the heiduks, to the present day the Bulgar has a soft spot
in his heart for the highlands. "Balkan" has become a symbol of power, protection,
and hope. In his songs, therefore, the folk singer has personified the spirit of his
beloved mountains in the form of the mystic, superhuman "Father Balkan."
Many songs have as their subjects the national flowers basil, geranium, and
carnation; others praise the favorite birds the nightingale, the eagle, and the
dove. Folk songs deal with the elements and natural phenomena flood, thunder,
rain, whirlwind.
Songs devoted solely to nature are comparatively few in number, although
various aspects of nature appear in every category of Bulgarian folk song. The
love motif is often interwoven with nature subjects, and these songs are delicate,
carefree, and sentimental. In others, mountains, rivers, the moon, and animals talk
and even foretell the future. In some songs, inanimate objects are taken into the
confidence of human
beings and treated as their equals. Nature to the Bulgarian
peasant is always extremely personal; he ascribes human qualities to all aspects
and phases of nature and these lend a quaint and intimate quality to all his folk
songs dealing with nature.
Example 207. Bulka i
gord (The Young Bride and the Forest). 88

M.M.P=400 /-v

Bul-ka vur-vi)
@_T M HP -pB_4k

yy
bul-ka vur-vi prezgo-ra ze - le na.
f

IT 112

Ka-to vur-vi, ka- to vur-vi

IP f f
zal-no mil-no
r'r r
pla-che,
w^ pla-che.
Bulka vurvi, bulka vurvi Young bride wanders, young bride wanders
Prez gora zelena. Through the fresh green forest.
Kato vurvi, kato vurvi And as she walks, and as she walks,
2alno, milno plache: She is softly sighing:
"Plachi goro, plachi sestro, "Weep, O forest, weep, my sister,
Dvima da placheme, Let us weep together,
Ti za tvoite liste, goro, You for your leaves, my dear forest,
Az za moita mladost. I for my lost
girlhood.
Tvoite liste, goro, sestro, Frost has bitten, forest sister,
Slana oslanilo, Your leaves green and tender,
Moito libe, g6ro sestro, While my lover, dearest sister,
DaMch zabegnilo, Far away has ridden,
Dale"ch zabegndlo Far away has ridden
. 159.
1
24 Types
Prez dvet planini, Over nine big forests,
Prez devet planini, maiko, Over nine big forests, mother,
Prez devet balkana. Over nine big mountains.
Tvoite liste, goro sestro, As for your leaves, dearest forest,
Pak shte da se vurne, They shall return again,
Prolet shte da doide, goro, They shall return again, forest,
Pak shte da pokara; Fresh and green the next spring;
Moita mladost, goro sestro, But my lost youth, forest, sister,
Nema da se vurne." It shall never come back."

The melody, originally built within an eight-measure frame, becomes less regular
with the repeat in the second half. Each of these halves consists of four measures:
the first two measures in each accommodate an eight-syllable line; the second two
measures have a total of only six syllables each: (4 + 4) + 6 + (4 + 4) + 6. In both
bride wanders" (2), "As she
phrases of the period words are repeated: "Young
walks" (2), and so on, apparently for rhythmic reasons.
The range of the melody is not much greater than that of the average folk song:
it covers the interval of amajor sixth. With three exceptions, when the melody
skips the interval of a third, the entire melody follows a scalewise pattern. Like
songs, this one has the fourth as its important
other folk struc-
many Bulgarian
tural interval. The repetition of various scale degrees is also noticeable, especially
in the descending passages. The melody carefully avoids the second degree of the
scale; as a result, it has a fresh sound when the final cadence makes use of this

degree in a very effective manner. It is then repeated rhetorically three times.

HUMOROUS SONGS
The humorous element ordinarily found in songs which accompany and re-
is

putedly lighten peasant labor, and in those which are sung for dancing,, to make a
gay occasion still gayer. The simplicity of the humor is such that a sophisticated
listener may only conclude that the work which serves to lighten or the ordinary
it

social conversation which it

supplements must, by contrast, be excessively dull.
A
large number of the humorous songs are in the typical Bulgarian meters. A
mixture of asymmetric meters is not infrequent. Many of these humorous songs,
especially those designed for the H6r6 3 are in 2/4; others make use of 2/4 and 3/4
alternately.
Many of the melodies are built on pentatonic scales with an augmented second.
The humor is usually naive and even crude; much of the poetry is unimaginative,
slanted, it would seem, for purely local audiences. The subjects, although not
numerous, are nevertheless varied. They are chosen chiefly from the limited con-
tacts which the peasant has with his fellow men. Since most Bulgarian village folk
never travel many miles from home, the stock situations of their folk song and folk
story are predictably confined.
Love, of course, is a common and important factor in peasant life and has its
humorous aspects. A song tells of two brothers in love with the same girl. Every-
thing went well until both brothers called on the young lady on the same evening.
Many of these songs deal with lazy wives who invent illness in order to avoid work.
Drastic remedies are recommended to the husbands so afflicted. One popular song
reports that "it is easier to love than to weave/'
 Types 125
The holy men of the Orthodox Church, who are targets for merciless sarcasm
and ridicule in folk tales, have by no means escaped the attention of the folk singer.
Priests and monks alike receive scant courtesy in the
Bulgarian folk-song literature.
The mating of June with December is another favorite subject; such songs lean
heavily for their humor on a surprise ending. A young lady who objects to marry-
ing an old man sends him into the forest to fell trees and hunt bears, hoping that
such strenuous labors will dispose of her elderly suitor. Alas:
Here he comes, Mother dear,
Carrying the whole tree on his shoulder,
Bears timidly following after.

In desperation she sends him to fish in the Danube, praying that he will fall in
and drown or be devoured by some species of man-eating fish reputed to inhabit
the waters. Instead:
Here he comes, Mother dear,
Thousands of fish before him,
The river Danube following after.

In subject matter, example 208 is typical of many songs which are sung at the
sedenka, in the fields and at weddings.

Example 208. Sung by Stoiana Koseva, 45; and Ivanka Docheva, 27; of Duskot, Veliko-
Turnovo. 38

da-li Gen-cha, Chris-ti -no, 111 - zov - ni ka.

Kogo pitash, Christino, die sa 2nish Think again, Christina, before

Dali G^richa, Christino, Iu26vnika. You marry Gencho, that great fibber.
Toi ta luie s n6va kushta. He lied about his fine new house.
Kushtata mu ii u gurata, His new house is in the forest,
Neseche"na, nevleche"ria. Not yet cut, nor yet collected.
Toi sha se"ehe, ti sha vleche"sh, He will cut trees, you will drag them.
Da si kushta naprdvite. Only then will you have shelter.

The sense of humor which the Bulgarian peasant displays in his lighter songs
he also applies to the adversities and hardships which are the peasant's lot. Critics
of the humorous songs in Bulgarian folklore find them crude, too primitive, or
simply bad, but It must be remembered that a people exposed to suffering for
centuries must be allowed at least a few generations in which to learn to relax and

laugh.
If humor is typical of high intelligence, then the examples given here may
indeed fall short of such a measurement. The humorous songs are unpretentious
and can claim neither high wit nor great inventiveness. They depict action and
88
Stoin, Ot Sredna Severna Bulgaria, p. 795, No. 2417.
126 Types
situation rather than abstracthumor. Xhey always evoke a fresh smile or mild
laughter from both singers and audience, and in the prosaic, uneventful life of a
secluded village that is sufficient justification for their continued existence in the
folk-song literature.
WORK SONGS
Work songs conveniently into two main categories: those
fall which accompany
indoor activities and those which are sung in the fields.

SONGS SUNG AT WORKING BEES AND SPINNING PARTIES

In the late fall and throughout the winter, the sedenka is the main social function
in the village. It gives the women an opportunity to take turns doing collectively
in one evening what one person would not be able to do in a month. The sedenka
thus turns into an evening of informal entertainment, storytelling, and gossiping.
At these gatherings, singing is one of the favorite pastimes. The songs which are
sung during the evening and late into the night cover virtually all categories.
SONGS SUNG OUTDOORS
The fieldshave for generations been the concert halls of the Bulgarian. While the
work indoors is done exclusively by the womenfolk, the burden of work in the fields
falls on the shoulders of men and women alike. There are special songs for harvest-

ing, for hoeing and cutting various grains and maize, for haytime and berrypicking,
for the melon season, and so on.
By far the most numerous, attractive, and varied in subject matter of all work
songs are those for harvest time. These are among the oldest Bulgarian folk songs.
The melodies of harvest songs are usually short, with a rather limited range. Most
of them are freely decorated. They are very loosely constructed. Many are un-
measured. Anaphora is used abundantly.
One mannerism which appears in at least nine-tenths of the songs in this classifi-
cation has been widely satirized as characteristic of all Slavic folk songs, especially
those which accompany the typical Slavic folk dances. This consists of the in-
sertion into a strophe of an unrelated, meaningless vowel, which appears either
at the beginning or end of a line and is accented and elongated to the taste and
lung power of the individual singer or chorus. The resultant sound is unmistakably
exuberant and so reminiscent of the vocal play of small children as to supply
interesting material for anthropological speculation on the parallel growth of the
culture and the human being.
Like other work songs, those sung at harvest time form song cycles bound to-
gether by similarity of subject matter. The harvest songs may be subdivided into
four groups: those sung in the morning, at midday, in the evening, and for various
times of day.
Morning songs. Here we find greetings to the rising sun, to the dew on the
grass and the flowers; a song doubting the motives of the maiden who happened
to be absent from the group on a particular day; and so on.
 Types 127
Example 209. Sung by Josif V. Lozanov, 58, of Vulchedrum, Lorn, December, 1926. No-
tated by Christo Iliev/

A M.M. J=60/^ _-
"
-TP
Sliin - tze-to tre iz - ti - cha
pti,

- sta -
gu go

Sluntzeto trepti, izticha The sun glitters as it rises

Iz gusta gora zelena, i t.n. Above the green forest foliage, etc.

Midday songs. It is the custom for workers to rest during the hottest time of
day, between noon and two o'clock. It is then that the young men and women
gather in the shade to have their lunch, to rest and sing. The titles of many of the
songs are self-explanatory and highly indicative: "Here it's noon and lunch has
not yet arrived'*; "We struck a mean boss to work for." During the lull of the
summer heat the lonely shepherd's flute is often heard in the distance; so the
shepherd appears as hero in a number of songs which relate his amorous adven-
tures. There are also songs with subject matter which is not connected in
any way
with harvesting.

Example 210. Sung by Sava Lalova, 38; Mita Ch. Nichova, 38; and Vlaika Marinova, 34;
1
of Kameno-Pole, Bela-Slatina, December, 1927/

I? H
(Hp
Brai - no lo - va- ne, lo - va -
ne, ne gle - dai mo-ma-ta,

gle - dai mo-ma-ta praz

- nik na ho -ro - to.

Example 210 suggests various criteria to be used in selecting a suitable bride. A

bachelor advised not to be misled by a girl's appearance at the dance or at a
is

party, as her neatness may very well be the product of her mother's hard work. He
should observe her, instead, as she works in the fields.
Evening songs. All the country roads leading to the village are filled with

groups of returning harvesters. In the twilight and on into the darkness the echoes
of their singing resound. The songs are designed to be sung at sunset, on the way
to the village/ at the house of the landowner, and so on, following the homeward

progress of the workers. As might be expected, the songs sung in the evening are
subdued, personal, and sentimental. Examples 211 and 212 are typical.
40
Stoin, Ot Timok do Vita, p. 204, No. 880.
41
Ibid., p. 225, No. 965.
 ia8 Types
Example 211. Bogova zuezdd (Divine Star). A harvest song to be sung at twilight. 4 -'

Moderately slow r .

Example 212. Molt se, libe, na Boga (Pray, Sweetheart, to the Almighty). From songs of
harvest to be sung on the road to the village in the evening.43
slow

Mo - li se, li - be le

& . u> J. j. j.
mo - li se, na Bo ga.

Moli se, libe le, Send your prayers, sweetheart,

Moli se, libe, na Boga,
Gole"moto l^to le,
Gol^moto l^to da mine,
Ta cherna ^sen le,
Ta chdrna esen da doide
Dano se libe le,
Dan6 se, libe, sber6me.
Your prayers to the Almighty,
To make this long summer,
This long summer come to an end,
So fall will come quickly,
So fall will come quickly, sweetheart,
So that you and I may
Then forever be united.

Songs for various times of day. These songs follow no specific pattern and may
deal with almost any subject They are, in fact, so varied in form and content that

they have often been placed by collectors in one of the other classifications listed.
There is
certainly some justification for such a procedure. The classification has
been retained here merely to indicate that many folk
songs actually sung during
harvesting evade accurate classification.

CHILDREN'S SONGS
Songs dealing with children or sung by them while at play are not numerous, nor
do they differ in character from those already described. Of all the songs for chil-
dren, the lullaby is
perhaps the most distinctive and poetic It is
simple in text
42
Kamburov, op. tit., p. 80. This beautiful song cycle recorded in the same collection
(pp. 72-84),
was taken down by the author in the vicinity of Vratza, near Sofia. At the
beginning of the nine-
teenth century, during the internal disturbances in the Ottoman
Empire, Bishop Sofroni, one of
the chief figures of the Bulgarian revival, made Vratza famous with his
powerful writing. On one
of the squares of Vratza stands a monument to the
poet-revolutionist Christo Botev, who fell at
the head of his troops in 1876 on the Volat summit in the mountains
just above the town. To date,
the poetry of Botev remains
among the finest in literature
Bulgarian
 Types 129
and musical setting. From among the handful of lullabies collected, the following
has a typical text. The melody has already been given in example 9 (p. 19).
Nani mi, nani, mamino dete", Nani, nani, Mother's little baby,
Ela siinio ot goritza, Slumber, come from deepest forest,
Fani Tz6chka za ruchitza. Take my Tzochko by his small hand,

Zavedi go vav goritza, Lead him with you to the forest,

Posteli mu trevitza, Cradle him in forest grasses,
Posteli mu trevitza. Cradle him in forest grasses,

Zavii go sas papritza Cover him with warmest fern leaves,

Kato go liule'ia i mu slatko pela: While I rock him, gently singing, swinging, singing,
Nani mi, nani, mamino dete*ntze. Nani, nani, Mother's little baby.

The distribution of the poetic feet in the original forms unusual patterns, alto-

gether different in each stanza.

I. 10 syllables, divided into 5 + 5 III. 7 syllables, divided into 4 4- 3

8 syllables, divided into 4 + 4 12 syllables, divided into 6 + 6
8 syllables, divided into 4 +4 11 syllables, divided into 5 + 6

II. 8 syllables, divided into 4 + 4

7 syllables, divided into 4 + 3
7 syllables, divided into 4 + 3

The desire to obtain aesthetic unity within the verse accounts for the uniform
use of the diminutive forms of forest, hand, grass, and fern. In their usual forms
they are not very similar in sound: gord, ruka, trevd, pdprat* However, by using
the diminutive, a rhyming effect is achieved: goritza, ruchitza, trevitza, papritza.
Through the exact repetition of trevitza at the end of strophes 11 and in in the
second triplet the deliberate monotony is intensified and the lulling effect of both
words and music further increased. The folk poet-singer, aiming at hypnotic, sleep-
producing verse, has obviously been influenced himself by the constant recurrence
of the tza sound, since, in the final strophe, he substitutes detentze for dete. This is
done even at the expense of the poetic form, as the alteration adds one syllable to
the original line.
The use of the diminutive form to obtain a rhyme scheme with words otherwise
dissimilar in sound, rather than a more careful selection of vocabulary which might
obscure the simple meaning, is a characteristic folk device. So also is the addition
of unnecessary syllables which seem to result from sheer inertia, but which add
tremendously to the ingenuous spontaneity of the folk song.
It is by no means possible to quote what might be considered even a fair sam-

pling of the songs which under the general heading of songs of everyday experi-
fall

ence. The examples given here have been selected on the basis of their adherence
to the specific type under discussion, because of their general appeal either poet-

ically or musically, and because they are more numerous

than other songs which
arise from the experiences of everyday living in a peasant village. There are many
songs which deal with family relationships, with birth and the ceremonies of
christening, with death and infidelity; songs sung when gifts are received or given;
singing games; and innumerable others which have been born of the emotional,
physical, and religious life of
the Bulgarian peasant folk.
 13 Types
SONGS OF THE SUPERNATURAL
Like other primitive peoples, the early Bulgarians postulated the existence of
powers superior to man which directed the universe and shaped man's destiny.
Such ideas are not incomprehensible to primitive thought and were in all prob-
ability responsible for the various heterogeneous forms of worship which are inte-
gral to group or national religious attitudes. These simple manifestations of man's
reaction to the supernatural have found expression in language and sound and
the combination thereof which is song.
A wealth of Bulgarian folk songs in this category has been handed down from
much earlier times; the subject matter ranges from deification of Mother Earth,
fire, mountains, and rivers to birds of ill omen and belief in therianthropic poly-

theism and magic. From the tremendous world of unreality revealed in these
songs, one would gain the impression that Bulgaria in past centuries was chiefly
peopled by such creatures of fantasy as lamias, winged serpents, water nymphs,
furies, elves, fairies, sprites, witches, oracles, and talking adders.

Nymphs in Bulgarian folklore are often creatures of evil intentions and with
interests inimical to those of human beings. When three nymphs happen upon
a young girl asleep in the forest, this is the conversation reported in a familiar folk
song:
First nymph: Let us take Draganka.

Second nymph: Let us leave Draganka,

For she's the only child
Of her mother
And of her father.
Third nymph: Let us not take Draganka
Till she is herself a mother,
So that when we take her,
Two mothers will be grieving.
The melodies which accompany these songs are short and unmeasured, and
move within a limited compass. As in work songs, the augmented second is
present,
and, similarly, the melody is opulently decorated. The difference between the two
isthat the decorations in the mythological and religious
songs are part of the mel-
ody. Since the construction is strophic, it is difficult to state whether or not there is
any conscious effort made at word
painting; the examples that do exist cannot be
considered in any other light than that of coincidence. The
greater part of the
songs in this group consist of eight syllables to a verse; the poems are from two to
ninety verses in length, averaging between twelve and verses each.
twenty
There no effort at rhyming within the couplet or the stanza,
is
although the use
of reiteration and anaphora often
gives that effect. Any conscious effort at rhyming
in more recent times
only serves to prove that the folk verse is ungraceful in
the hands of rhymsters, however
well-meaning. Of the tunes which are written in
tempo giusto, the asymmetric construction is most frequent. The eight-measure
phrase occurs most often. In addition to the Oriental scales implied above, the
pentatonic scale and the ecclesiastical modes are used again and again. Those of
the songs which are written in rubato make constant use of the fermata.
tempo
 Types 131
Example 213 is characteristic of many similar songs which deal with the per-
sonification of nature.

Example 213. Sluntzeto ne moze na nadgree Dobrinka (The Sun Cannot Outshine
Dobrinka). Sung by Tzana Radeva, 50, of Tzerova-Koria, Veliko-Turnovo.'*

If.M.X

Ma - ma slun-ch! - tzi dii * ma - shi :

slun - chi - tzi mi - lo ma - mi no.

Mama sliinchitzi dumashi: The Sun's mother spoke to him:

"Sliinchitzi, milo mamino, "Listen to me, O dearest son,
Nuli tumama ucheshi Didn't I, your mother, teach you
Du idish gre'ik du greish, To shine and gleam till noon only,
Du pladne greik du greish, And then to recline and come home?
tft pladne ti du si dodish. Instead you have been shining now
Puk ti mi sino, kak stana, Three very long days and three nights,
Tri dni, mi sino,kak gre"ish, Three days and nights without setting.
Kuk greish ni si duaidush. As long as you're up, no one stops,
6ra po kiira izgoriaa, No one stops on fields and meadows.
Dicha put snopia izmriaa. Tillers are fainting in the fields,
Stadu pu pul izgore." Children are burning in the hay,
Herds are dying off on the plains."

Sliinchitzi duma mami si: The Sun replied to his mother:

"Sidial sum, mamo,
Dubrink dubro mumichi.
V mala grudink side"shi,
Siakukvu tzve"ti bireshi,
Tii gr^e, mimo, az gr^ia,
Ni mu^ah, dii i nudgrei.
Chiud su, mamo, mai su,
Kak du Dubrinku izluzl."
Mama slunchitzi dumashi:
"Sliinchitzi, milo mamino,
I tui li du tu nuuchu,
Tiizi mi, sinko, niiuku,
Svetite dine shu ddidut.
Shu dodi sv^ti d6n gergiovden
Chi spusni liiilki ut nibe",
Na lichin d^n na gergiovden
Zu zdrave du su liul&ut,
Sichkiti mumi shu doidut,
IDubrinku muma shu d6di.
Tugas si liulka pudigni,
Chi iiu f nibesa izdigni/'
gledul sum "I have been standing still, Mother,
Standing still and have been watching
The lovely maiden Dobrinka.
She is sitting in her garden,
Picking the most gorgeous flowers,
More radiant, Mother, than the sun.
She shines, Mother, and I shine,
And I cannot Dobrinka outshine.
It's up to you now to think of
A sure way for me to win her/'
Then the Sun's mother spoke again:
"Listen to me, O
dearest son.
There is nothing easier than that.
There is nothing that is easier.
Soon the saints' days will be coming,
And among them that of St. Georgi.
You should lower then your hammock
From the sky down to the village,
And when all the girls come to swing,
Maiden Dobrinka will also come.
Raise your hammock to the sky then,
Raise the hammock and the maiden."

Stoin, Ot Sredna Severna Bulgaria, p. 20, No. 52.

132 Types
The last Young men and women in
stanza refers to a popular peasant custom.
Bulgaria make swings on tree branches on St. George's Day and swing, as tradition
advises, for health and good luck.
One of the most widely known folk songs in Bulgaria is the ballad of Manoil,
the master builder, whose unfortunate bride was cemented into the foundation of
a river bridge or the cornerstone of some other edifice. There are many variants
of this tragic story, but all have preserved the fundamental conception that it was

necessary to make a human sacrifice in order that an architectural structure might

be saved from repeated destruction.
the two musical versions of this famous folk song which are given here, exam-
Of
ple 214 is from the central part of the country; example 215, from Thrace.
Example 214. Vrdgdena nevesta (The Bride Who Was Buried Alive). Sung by Kera D.
45
Sovdeva, 42, of Novo-Selo, Troian.

M.M. A 200

-
gra
- dil mi gra- da gu - lia-ma,

gra - da gu -
^
lia - ma,
s
gra
- da Pir -
go - za.

Example 215. Sung by Christaki Bogdanov, 92, of Czunkiuprisko, Veliko-Turnovo, May,

8
1930.*

M.M. Js^S

j
Tro - vi-tza bra - tia gra da - de -
gra ia,

gra - da gra de -
ia, gra - da Sen - de - ra.
Three brothers built a city,
Built the city Sendera.

The version which Is familiar in the vicinity of Sofia and seems to be closest to
all other variants tells how
Skillful Manoil is
building bridges.
He builds them daily, they collapse at night.
Two hundred helpers, three hundred apprentices
For weeks and months have been losing the fight.
5
No. 44.
J6id.,p. 17,
'Stoin, Bulgarski narodni pesni ot Iztochna i Zapadna Trakia (Sofia, 1939), p. 15, No. 33.
 Types
Manoil then proposes that, all else having failed, they resort to magic. Three
hundred apprentices and two hundred helpers approve the desperate measure:
the first wife to arrive with her husband's lunch on
Monday is the one destined
to be buried alive in the foundation of the bridge. Each of the workers
except
Manoil, the honest master builder, tells his wife not to bring lunch. Manoil instructs
his wife Marika to do many extra chores before
bringing his lunch to bathe the
twins, Peter and Pavel, to go to the mill, to paint the fence, and so on and then
not to hurry on the way in the morning. As Marika passes through the village she
calls to her neighbors to come with her as
they do every day, but one by one they
give the same reply, that they will catch up with her later.
The elements themselves try to come to Marika's rescue by hindering her prog-
ress. As soon as she is out in the fields, a dust storm
sweeps down upon her and
fills her husband's lunch with dust and sand. She returns,
prepares another lunch,
and sets forth again. The second time it begins to rain so hard that water, waist-
deep, covers the road. But nothing can stop Marika. When Manoil sees her, he
begins to cry.
"Why are you weeping?" his wife asks. He explains that he has dropped his

engagement ring, his golden ring, into the foundation of the bridge. Marika goes
down to look for the golden ring, and then the others inform her of the hopeless-
ness of her situation. She asks:

Manoil, haven't I been a good wife to you?

Manoil, didn't I do all you wanted?
Why do you bury me in this cold ground?
What will you do about our little children?
What will you tell them when they cry and ask for me?

She then begs to be allowed to go and kiss her children goodbye, but the workers
feverishly build around her. When the cruel task is completed and the workers
have gone home, the master builder, heartbroken, remains to mourn his lost wife
and grieve over the future of his two motherless children.
This is an especially fine example of the Bulgarian ballad. It treats one of the
oldest superstitions in the country that an edifice may be saved from destruction

by building into the foundation either the shadow of a human being or the person
himself, usually a young woman or a young man who is an orphan, an invalid, or
a stranger. The legend has been so persistent that even today superstitious peasants
will not cross certain river bridges because at one time people had been cemented
47
into their foundations alive.
When the Eastern Orthodox Church introduced Christianity into Bulgaria in
the ninth century, the already colorful folklore was further enriched through the

pp. 569-573. Arnaudov points out that the belief that a human soul
47
Arnaudov, Ochtrki . . . ,

will save a building from destruction is found in Greek and Rumanian folklore also. In Siam, people
were taken from the streets and buried alive in the foundation of the city fortress. The victims
were instructed to guard the city and warn its citizens of the approach of any enemy. In India,
until recently, criminals and prisoners of war were buried under the city towers in order that they
would be transformed into benevolent spirits to guard against demons. For the Celeo bridge be-
tween Caudan and Faouet in France, a child was placed in a barrel and then sealed into the foun-
dation in the early nineteenth century. Similar incidents are recorded in the legends of England and
Germany.
134 Types
observance of numerous church holidays and saints' days. The titles of some of
these religious songs will best describe their nature: "God Appeases a Storm at
Sea/ "St. George Liberates the Slaves," "St. Peter Comes to Earth/' "St. John in
1

Paradise/' "St. Nicholas Builds a Church in Mid-Ocean/* "Punished for Not Ob-
serving St. Elijah's Day/' "Abraham Offers His Son as Sacrifice/* "The Rich and
the Poor in Heaven/' The religious folk songs are particularly naive and primitive;
when dealing with Biblical stories they follow the text only loosely.
It is significant that from daily patterns which would seem extremely circum-
scribed and uninspirational to civilized outsiders, an endless wealth of folk song
has arisen. The creative spirit of the Bulgarian people, at least when the major
part of this folk music was evolving, seems to have thrived in a barren and arid
soil. Thus it served to enrich the lives of the village folk out of all proportion to
the poverty of inspiration which the collective experience of the people could
provide.
 CHAPTER SEVEN
INSTR UMENT S

OLK instrumentalists in Bulgaria are not "professional" musicians in

the accepted sense of the term. The only professional musician in the rural dis-
tricts is the church singer, called psalt. The peasant musician works at his trade
or profession during the week; only on Sundays and holidays does he practice his
art,which is thus a free art. On special occasions he may take time off from his
regular work to play for weddings or other celebrations. He is almost never a
traveling musician. He is instead an established member of the community, re-
1

spected because of his accomplishments.

The national poetry represents the folk musician as a carefree, happy-go-lucky
person, interested only in beauty. He is sensitive by nature, has a good ear, can im-
provise with facility, and plays his extensive repertoire with amazing accuracy
year after year, though he plays from memory.
Four national instruments are used most frequently in Bulgarian folk music:
the gusla, the kavdl, the gdida, and the bulgaria. In addition, among the percussion
instruments, the drum and the tambourine are most popular.

THE GtrSLA
The gusla is also known as gudulka. It is a pear-shaped, bowed instrument of
the rebec family, brought to Spain by the Arabs in the eighth century. (See p. 140.)
The instrument rests on the knees of the player, the bow being drawn across
the strings in much the same manner as with the cello.
The gusla ordinarily has three strings, the pegs of which are triangularly placed
in a heart-shaped neck. The body and the neck are made of one piece, usually
scooped out of mulberry wood. The sounding board is of pine, with a semicircular
resonance hole on each side.
The go directly to the pegs, not touching the nut at all; as a result, the
strings
strings are from two to three inches above the fingerboard. The various pitches,
therefore, are not obtained by pressing the string, as in the violin, but by lightly
1
The Bulgarian gypsy represents the traveling minstrel in Bulgaria. However, he is not the
unusual musician that his counterpart in Hungary is. Although the Bulgarian gypsy is usually an
excellent instrumentalist technically, his taste in interpretation and choice of repertoire leaves much
to be desired. His contribution to Bulgarian folk art is therefore negligible.
136 Instruments
touching them on the various nodes and thus causing the strings to vibrate in
segments, as in the production of harmonics on the violin. The strings are made
of gut and are tuned in perfect fifths, as are those of the violin. In recent times,
instruments with more than three strings have made their appearance, but these
are by no means standard.

Technically, the instrument does not have the limitations which the principle
of the production of harmonics imposes on the violin. Therefore, runs, trills, and

grace notes are practical on the gusla. Example 216 was performed on this primitive
folk instrument.

Example 216. Koichovoto horo. Played on the gusla by Stoino Bonev, 28, from Stanchov-
2
Han, Drenovo.

M.M. J\360

THE BULGARIA (OR BCrGARIA)

3
The bulgaria a delicate, plucked instrument, twenty-eight to thirty-one inches
is

long, possibly a descendant of the Oriental tambour or the second-century pandura.

There are two metal strings, tuned either in fourths or in fifths. In some parts
of the country there are bulgarii with three strings. The strings are plucked with
a goose feather or a plectrum of cherry bark. In manner of tone
production the
is similar to the mandolin; the tone of the
bulgaria bulgaria, however, is somewhat
softer and more metallic.
The tamburd very similar to the bulgaria, but is only a little more than nine-
is

teen inches in length. It has four metal strings, tuned in

pairs, either in fourths
or in fifths*

Each string produces twelve to sixteen semitones, giving the instrument a range of
about two octaves.

Both the bulgaria and the tamburd are melodic instruments, effectively
interpolat-
ing parts between the strophes or playing the melody with the singer.
The historian Konstantin Jierecek thinks that these instruments were brought
2
Narodni pesni ot Sredna Severna Bulgaria
Vasil Stoin,
(Sofia, 1931), p. 872, No. 2712.
8
Pronounced bull-gah-ree-a; boo-gah-rce-a.
 Instruments 137
from Asia Minor to Bulgaria by Turkish shepherds. However, the Bulgarian musi-
cologist Ivan Kamburov finds this to be highly improbable, since the Turks who
came to the Balkan Peninsula were not shepherds. 4

THE KAVAL (DODOK)

The kavdl is a wind instrument resembling the flute in size and manner of tone
productipn. It thumb in the
has six or seven openings in front and one for the
back. The length is from twenty-eight to thirty-four inches. There is a smaller
kavdl which sounds an octave higher. Whatever the size, the range is two octaves
and there is no standard key in which the instrument is uniformly made.

Because of the melancholy quality of its tone, it is referred to as meden (honey-

toned) kavdl in the folk poetry. Since it appears constantly in the folklore and
maintains an unrivaled popularity, it has come to be considered the truly Bul-
garian national instrument. It has a wide color range, resembling the clarinet in
the high register, the flute in the middle register, and the oboe in the low register.
In the hands of skillful performers the instrument is capable of holding the atten-
tion of concert and radio audiences just as are its brothers, the sophisticated wood-
winds. However, the kavdl is more at home in open spaces in the hands of the
shepherd who, to combat loneliness, plays the kavdl by the hour, day in and day
out. He plays his tunes as he knows them, with thousands of variations of rhythmic

patterns so complicated as to make the original unrecognizable. The great

art of

playing the kavdl lies in the performer's ability to improvise. Example 217 provides
a typical illustration of the ease with which the kavdl can manage fast passages,

trills, and grace notes in a free and improvisatory style.

Example 217. Krepkata. Played on the kavdl by Angel Nenkov, 48, of Krushovitza,
5
Orehovo, October, 1927.

*
Ivan Kamburov, Mtizika i narod (Sofia, 1932), p. 27.
6
Stoin, Narodni pesni ot Timok do Vita (Sofia, 1928), p. 1087, No. 4073.
Jl
 Instruments 139

A) -v A jf T f nJi

THE GAIDA
The gdida a bagpipe, not very different from the Scotch or Italian variety. The
is

range governed by the skill of the player, but two and a half octaves is considered
is

exceptional. There are six openings in the fingering pipe and one for the thumb
which controls the air column; these determine the pitch. Sometimes the gdida
has two drones, called iso, sounding a perfect fifth apart.
The everywhere, at dances, at the sedenka, at engagement parties, at
gdida is

wedding play music that is happy or sad. Like the kavdl player, the piper
feasts, to

improvises on the few short measures that the folk tune provides. Of all national-
instruments, the gdida is the most difficult to capture in written music: first, because
modern music notation does not have all the necessary symbols; second, because
of the endless decorations added by performers; and third, because the same melody
isnever played twice in the same way. The shrill quality of the tone produced also
adds to the difficulty.
The quotation in example 218 illustrates the use of the iso.
8
Example 218. Played by Todor Chr. Boshnakov, 44, of Chadurli, Sevlievo.

M.M.i 13$

-r-
8
Stoin, Narodni pesni ot Sredna Severna Bulgaria, p. 872, No. 2716.
s
<
o

C/D

<P
O
 Instruments 141

PERCUSSION
The only percussion instruments consistently used in Bulgarian folk music are the
tambourine and the bass drum. The tambourine is rather crude in construction
and is used in the same manner as it is in Western music.
The tupdn, or bass drum, also is crude, often home-made, with a skin thirty to
forty inches in diameter. It is played with a hard mallet in one hand and a soft,
flexible stick in the other. The hard stick is used for the heavy accents, the soft
stick for the secondary. The latter is
placed against the skin and vibrates while
the heavy mallet strikes the skin on the opposite side, so that the total percussion
effect would be as follows:

heavy mallet
Tu* aii:
stick

The clarinet and the violin were imported into Bulgaria during the second half
of the nineteenth century and are now in general use. Widely used in Macedonia
and those parts of Bulgaria where the Pomaks live is the zurnd, a double reed of
the oboe family, an Arabic instrument which found its way into Bulgaria through
the Turks. None of these instruments is native to Bulgaria and thus will not be
discussed here.
How well the virtuoso folk instrumentalist stands socially in comparison to men
of other trades and professions may be seen in the text of the Macedonian folk song,
Komu da me dade? (example 219).

Example 219. Komu da me dddef (To Whom to Betroth Me?). Sung by Anastasia D,
7
Pepova, of Skopie.
Vivo

i^P 3at
Chu-di-la se mi - la ma-ma ko-muda me da- de?

m
Da me da - de za ba-kal-che ia ba-kal-che nei-kiam!

Ba-kal-che
m&
e ka - ko glu-shetz ot vre-kia na vre-kia.

mdma
Chfidila se mila My dear mother wondered8 and wondered
Komu da me dade? 8
To whom to betroth me.
Da me dade za bakilche To betroth me to a grocer
la bakalche n^ikiam! I want no grocer!
Bakilche k^ko glushetz
e Grocer's like a bird,
Ot vr^kia na vr^kia. From sack to sack.
7
losifCheshmedjiev, Bulgarski Makedonski pesni (Sofia, 1926), pp. 22-23.
&
This couplet repeats before each stanza.
142 Instruments
Da me dade za daskalche To betroth me to a teacher
la daskalche neikiam! I want no teacherl
Daskalche e kako kuche Teacher like a dog wanders
Ot selo na selo. From village to village.

Da me dade za rnals tor che- To betroth me to a builder

la malst6rche neikiam! I want no builder!
Maist6rche e kako ptle Builder's like a rooster
Ot grda na gre"da. From rafter to rafter.

Da me dade za ribarche To betroth me to a fisherman

la ribarche neikiam! I want no fisherman 1

Ribarche e kako krapche Fisherman's like a fish

Nad voda pod voda. Under and over the water.

Da ine dade za gaidarche To betroth me to a bagpiper

la gaidarche sakaml I want a piper!
On ke sviri ia ke igram, He will play and I shall dance,
Ke se pog6dime! And thus we'll get along together.
 CHAPTER EIGHT

C ON C L USION

YSTEMATIC study of the folklore of Bulgaria and Macedonia on a scien-

)

tific basis a recent development. The branch that deals with music has been
is

especially handicapped by the lack of available material. When some of the music
was finally gathered and put on paper, the question of how authentic such nota-
tions were immediately arose. At the turn of the century, when Bulgarian scholars
went abroad to study, they realized that other European countries had already
established traditions concerning the folk music of their respective nations.
These European-trained musicians, therefore, returned to Bulgaria with a new
enthusiasm and a great desire to uncover and preserve Bulgarian folk songs. As
an immediate result, the various sborniks were published by both government and
private agencies. When the printed volumes appeared, certain discrepancies were
noticed: the same folk song might have innumerable "authentic" versions. Although
Bulgaria today occupies an area of only 42,741 square miles (comparable in size
to the state of Tennessee), the make-up of its population is complex; the linguistic
and ethnological influences are varied. Frequently, dialects differ in towns only
a mile or two apart. In some of the border districts, much of the vocabulary of
neighboring countries may have been absorbed into the local dialect, a situation
especially typical of Macedonia, whence come the earliest Bulgarian folk songs on
record.
Geographic, historical, anthropological, and linguistic research has shed new light
on a hitherto neglected folklore. However, as interest in the national culture spread,
the controversy over the authenticity of notation and transcription of the native
song became more intense, but not more objective. Not infrequently, articles and
books supposedly authoritative did not rise above the level of race prejudice and
chauvinism.
In music, specifically, metric complexities have made study and analysis difficult.
Oriental scales, the use of intervals smaller than the semitone, and imperfections
in the construction of folk instruments are but a few of the factors that account
for the relatively small musicological output in Bulgaria. The efforts of a handful
of native scholars who have dedicated their lives to the study of the traditions,
legends, and art of their people have remained even today inaccessible to the stu-
dent of folklore who does not read Bulgarian.
144 Conclusion
It is my
hope that the present study will open the field to interested students
of folklore and musicology who formerly were unable to investigate the folk music
of Bulgaria and Macedonia. The folk songs have been presented exactly as they
are, simple and direct, the expression of the customs and beliefs of an unschooled
people. They are characterized by tender expressiveness, straightforward realism,
and striking originality. They are, I believe, a tribute to the creative genius of the
Bulgarian folk.
To the scholar, folk music is something apart to be examined scientifically,
catalogued, and But
in the final analysis the enduring quality of all folk
classified.

song worth preserving is this close association with simple folk. Theories about
the origins of folk music come and go, but in simple cultures the folk singer works
at his creations oblivious of scholarly discussion. Knud Rasmussen, in his an-

thropological study of the Seal Eskimos, recorded a statement made by the Net-
1

silingmiut folk singer, Orpingalik, which describes the creative process as it seems
to the native artist:

Songs are thoughts, sung out with the breath when people are moved by great forces and
ordinary speech no longer suffices.
Man is moved just like the ice floe sailing here and there out in the current. His thoughts
are driven by a flowing force when he feels joy, when he feels fear, when he feels sorrow.
Thoughts can wash over him like a flood, making his breath come in gasps and his heart
throb. Something, like an abatement in the weather, will keep him thawed up. And then it
will happen that we, who always think we are small, will feel still smaller. And we will fear
to use words. But it will happen that the words we need will come of themselves. When the
words we want to use shoot up of themselves we get a new song. 2
1
Knud Rasmussen, "The Seal Eskimos: Simplicity through Poverty," A Reader in General
Anthropology (New York, 1948), pp. 117-141.
2
1 bid., p. 139.
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 INDEX

Additive meters, 23, 24, 28
Aeolian mode, 66
Airplane Sonata, 46
Aksak, 25, 29, 29 n.
Albanian music, influence
Alexius I, 12
Anacrusis, 77
Anaphora, 120, 130
An gas, 20 n., 42
Antheil, George, 46
Arabic scales, 52,54, 55,
Aristoxenus, 21, 21 n.
Arnaudov, Mihail, 15
Asen II, 9
Asymmetric meters, 20
Augmented second, 54, 57, 62, 76, 130; in glds VI,
61,62
Bulgarian folk dance, 23; Chepnitza, 29; Deve'r-
sko horo,43; fire dance, 11 n.; Ganinata mdika,
35; Haidushka igrd, 35; Hoiisa, 31; Izrichdnkaf
31; Kovaddrche, 34 n.; Krivo H6r6, 35; Ludoto,
of, 34 31; Makedonsko horo, 34; Mori shto mi tekna,
34 Obiknovenna ruchenitza, 28; Orhaniiska
n.;
igrd, 35; Paid&shka, 24 ff.; Pileto mi pee, 34 n.;
Povurnato horo, 29; Povurnushka, 31; Prosto
horo, 16; Radomirska igrd, 31; Ruchenitza, 24
n., 26 ff., 34; Tropliva igrd, 31; Vetrenska horo,
56 29
Bulgarian folk instrumentalist, 135; position in
society, 141
Bulgarian folk instruments: bulgaria (bugaria),
ff., 27, 49-50 135, 136-137; gdida, 81, 89, 135, 139; gusla
(gudulka), 10, 135-136; kavdl (duduk), 89, 135,
137; tambourine, 135, 141; tamburd, 136;
tupdn (bass drum), 135, 141

Bagpipe (gdida), 81, 89, 135, 139 Bulgarian folk music:" Albanian influence, 34;
Balkan Peninsula, Turkish conquest of, 5, 9, 13, character of, 5, 14, 144; in church compositions
112,113 of Kukuzel, 12; collections, 1, 14, 22, 67, 143;
Ballad, 2, 132-133 destroyed by Greeks and Turks, 12; diatonic
Barry, Phillips, 4 progression, 67, 73, 76; factors affecting, 5; har-
Barsky, 13 mony foreign to, 81; Occidental influence, 17,
Bart6k, Bela, 4, 6, 24, 45 25, 66-67; origin, 1 ff.; ornamentation, 75 fL;
Basil II, 9 pre-Christian, 11; suppression of, 11, 13; tran-
Bass drum, 135, 141 scription, 51, 143; use of anaphora, 120. See
also Melody; Meter; Notation; Scales; Struc-
Battenberg, Alexander of, 10 ture
Bohemia. See Czechoslovakia; Slavs.
Bulgarian folk songs, 108-134; children's, 113,
Bolgarski rospev, 58 128-129; Christmas carols, 26, 54, 113, 121-122;
Boris I, 8
engagements, 114; evening (work), 127-128;
Bortnianski, 13 n. first in print, 14 n.; heiduk (hero), 48, 111-113;
Britten, Benjamin, 45, 46 historic, 108-110; humorous, 113, 124-126;
Biicher, Karl, 2 love, 113-114; midday (work), 127; morning
Bugaria. See Bulgaria (work), 126; nature, 112, 123-124, 131 ff.; out-
Bukofzer, Manfred, 23 doors (work), 126-128; religious, 134; the super-
Bukoreshtliev, Angel, 65 natural, 130-134; time of drought, 113, 122;
Bulgaria, 135, 136-137 wedding, 115-120; work, 113, 126-128. See also
Folk singer
Bulgaria: boundaries, 10; claims Krali Marko,
110; history, 7 ff.; introduction of Christianity, Bulgarian folklore, 130, 133-134, 143
8, 11, 133; literature, 10; National Republic, Bulgarian folk verse, 23; interruptions of text,

10; racial origins, 8 ff.; size, 10, 143; under 104, 105; logogenic setting/ 22, 28, 82; melis-
Turkish yoke, 5, 9, 13, 112, 113; after Turkish matic passages, 76; melogenic setting, 27, 82,
liberation, 25. See also Orthodox Church, Bul- 83; monophonic setting, 81

garian Bulgarian musicology, viii, 52, 137, 143

Bulgarian chant: books on church music, 12; Bulgarian peasant: attitude- toward nature, 112,
distinctive from Greek, 12; first composer, 12; 123, 130, 131; creative genius, 134, 144; isola-
manuscripts, 13; Middle Ages, 12; in Russia, tion, 13, 66; as musicians, 5-6, 10-11, 51, 58, 75,
11, 13, 58, 59; twelfth century. 12. See also 77, 135, 141; recent changes, 66, 67; sense of
Medieval modes; Osmogldsie humor, 125; subjugation, 5, 9, 13
i
58 Index
Butterfly (Peperuda), 122 Gldsove, 59; of Eastern Orthodox chant, 55; nota-
tion of, 64; and Oriental scales, 63-64
Byzantine chant, 12, 13
Byzantine control, 9, 12, 13, 66 Goleminov, Marin, 83
Greece, 9; music, viii, 12, 21-22, 27, 31, 58; odes,
Cadence, 73-75; final, 115; half cadence, 73, 86, 11 n.; Orthodox clergy, 10, 12, 13, 66; Orthodox
115; ornamental final, 73, 74. See also Glds liturgy, 11
Caesura, 73, 104-105 Gregor Nikeforos. See Nikifor Gregoras
Carter, Elliott, 46 Grimm, Jacob and Wilhelm, 2
Chant: Bulgarian, 11, 12, 13, 58, 59; Byzantine, GudHlka. See Gusla
12, 13; Eastern Orthodox, 55 Gummere, Francis B., 2, 3

Chepnitza, 29 Gusla, 10, 135-136

Cheshmedjiev, losif, ix Guslar, 10, 11
Chinese music, 1, 53 Gypsies, 122, 135 n.
Christmas carols, 26, 29, 54, 113, 121-122
Christov, Dobri, viii, 15, 21, 25, 27 n., 36, 52 n., Haidtishka igrd, 35
55, 56, 57 Halffter, Ernesto, 46
Chromatic alterations, 57 Handkerchief dance. See Ruchenitza
Chromaticism, 67, 86 Harmony, 81
Church modes. See Medieval modes; Osmogldsie Harsanyi, Tibor, 46
Copland, Aaron, 46 Heiduk songs, 48, 111-113
Cross, Samuel Hazzard, 7 Helmholtz, H. L. F., 53, 55
Cyril and Methodius, 8 Hemiolia, 23, 25, 27, 32, 86
Cyrillic alphabet, 8 Hidjaskiar, 55
Czechoslovakia: Kuba, musicologist, 28; Strashak Wdschas, 55, 57
compared with Ruchenitza, 24 n. See also Slavs Hindu music, 1, 21, 27 n.; angas, 20 n., 42; raga
Bhairava, 61; ragas3 58
Dance. See Bulgarian folk dance. Hoffmann-Krayer, 3
Debussy, Claude, 45 Hoiisa, 31
Deversko hard, 43 Hero. See Bulgarian folk dance
Huseni,55, 56
Djudjev, Stoian, 21, 22
Dorian mode, 21 , 64-65, 66, 72 Hypolydian mode, 65
Drum (tupdn), 135, 141
Duduk, 135, 137, 139 Instruments. See Bulgarian folk instruments
Dumbarton Oaks Concerto, 46 Intervals, 67-71; augmented, 70; augmented sec-
ond, 54, 57, 62, 76, 130; major and minor
Eastern Orthodox chant, 55 thirds, 71; major and minor seventh, 68, 69;
Eastern Orthodox Church. See Orthodox Church in melismatic passages, 76; octave, 68; perfect
Ecclesiastical modes. See Medieval modes fourth and fifth, 69, 76
Echoi, 12, 58. See also Glds Intervals smaller than sfemitone, 51, 52, 76; half
flat, 54, 57, 72; half flat and half sharp never
"Eight-mode singing." See Osmogldsie
Elongated beat, 21 ff. appear in same song, 71; half flat and half
Elongated metric unit, 21 ff. sharp not quarter tones, 17
Ispahan, 57
Isperikh, 8, 27 n.
Farmer, Henry, 55, 57
Fire dance, 11 n. Ivan Asen 9
II,

Folk dance. See Bulgarian folk dance Izrtchdnka, 31

Folk instruments. See Bulgarian folk instruments
Folklore, 130, 133-134, 143 Javanese music, 1, 53
Folkmusic. See Bulgarian folk music Jeu de cartes, 45
Folksinger, 5-6, 10-11, 51, 58, 75, 77 Jierefek, Konstantin, 112 n., 136-137
Folksongs. See Bulgarian folk songs
Folkverse. See Bulgarian folk verse Kamburov, Ivan, viii, ix, 15, 80, 137
Form. See Structure Karadjch, Vuk Stefanovich, 14 n.
Katzarova, Raina, viii, ix, 52, 53, 107
Gdida, 81, 89, 135,139 Kavdl, 89, 135, 137
Ganinata mdika, 35 Kittredge, George Lyman, 3
"Gapped** scales, 53 kiuchek, 29
Caster, Moses, 3-4 Korzybski, Alfred, 24
Glds: Glds I, 59; Glds II, 60; Glds III, 60; Glds IV, Kovaddrche, 34 n.
60; Glds V, 60-61; Glds VI, 61, 62; Glds VII, 62; KraliMarko, 110-111
Glds VIII, 63 Kremenliev, Atanas, ix
 Index
Krivo horo, 35 Orthodox Church, Bulgarian: Byzantine control,
Kuba, Ludvik, 28 9, 12, 13, 66; clergy, 11, 125; liturgy, 11, 12, 13,
Kukuzel, Ivan, 12 58, 59; made autonomous, 10
Orthodox Church, Greek: clergy, 10, 12, 13, 66;

Laloy, Louis, 21 n. liturgy, 11

Liturgy: Bulgarian, 11, 12, 13, 58, 59; Greek, 11; Osmogldsie, 52, 58 ff.; definition, 59; notation, 64;
Roman, 11; Russian, 58 origin, 58 ff.
Ludoto, 31 Paeonic. See Meter, paeonic
Lullaby, 128-129
Paidiishka, 24 ff.
Lydian mode, 65 Paisii, Father, 10
Pan6ff, Peter, vii, 28, 30
Macedonia, viii, 9, 10; folk songs, 43, 45, 141, 143;
Papadikai, 12
intervals minor sixth in melodies, 69;
of
Parry, Hubert, vii, viii, 4, 75
meters, 21, 45; modulation in folk music, 77- Peasant. See Bulgarian peasant
78; myxolydian mode, 66; use of zurnd, 141 Penta tonic intervals
scales, 52-54, 124, 130;
Makedonsko horo, 34 smaller than half tone, 54; transilient or
Manoil, ballad of, 132-133
"gapped," 53
Marinkovich, G., 27
Peperuda, 122
Mazurka, 24 n. Percussion, 27, 135, 141
Medieval (ecclesiastical) modes, 64 ff., 130; Aeo- Persian scales, 55
lian, 66; Dorian, 21, 64, 65, 66, 72; hypolydian, Peter Grimes, 45, 46
65; Lydian, 65; myxolydian, 66; Phrygian, 21, Phrygian mode, 21, 65
65 Piletomi pee, 34 n.
Meier, John, 3 Poetry. See Bulgarian folk verse
Melody, Bulgarian folk, 51-81, 83; range, 78-80 na Bulgarkata, 12, 60
Poleileiat
Meter, 16 ff.; additive, 23, 24, 28; asymmetric, 20 Polyphony, 81
fL, 27, 49-50; paeonic, 23, 32,' 38, 82, 104; pos- Pomaks, 66; use of minor seventh in music, 69;
sible derivation, 21; quintuple, 24 ff., 31, 33; use of zurnd, 141
regular, 16 ff.; unmeasured, 47 ff. See also Pound, Louise, 3, 4
Index to Metric Signatures; Structure; Time Povumato horo, 29
Mihail, Archbishop, 11 Povurnushka, 31
Mikrokosmos, 24 Prosto horo, 16
Milhaud, Darius, 45, 46 Protasis-apodosis, 106
Modes. See Medieval modes; Osmogldsie
Modulation, 77-78 Quintuple meter, 24 ff., 33; in Greek and in Bul-
Mori shto mi tekna, 34 n. garian music, 31
Moussorgsky, Modest, 45 Radomirska igrd, 31
Musicology, viii, 28, 52, 137, 143
Ragas, 58, 61
Mythology, 10, 11, 123, 130
Regular meters, 16 ff.

Myxolydian mode, 66 Religious songs, 134

%
Rhyming, 130
Naumann, Hans, 3 Rhythm. See Meter; Structure
Neumes, 12 Rimsky-Rorsakov, 45
Nikifor Gregoras, 112 Roman Catholic Church, liturgy, 11
Nikolov, Anastas, 58, 59 Rousseau, Jean-Jacques, 2
Notation: of folk melodies, vii, 24, 31, 51, 67, 143; Ruchenitza, 24 n., 26, 27, 28; Muzka, 34; Obikno-
of gldsove, 64; papadikai, neumes invented by vdnna, 28; tenska, 29
Kukuzel, 12; znamenny (slavtano-bulgarski) Rumania, 9 n., 10, 34 n.
58 Russia: Bulgarian church music in, 11, 13,58, 59;
signs,
new musical techniques, 45
Obiknovenna ruchenitza, 28 Sacre du Printemps, Le, 45
Occident, influence on Bulgarian folk music, 17,
St. John of Damascus, 12
25, 66-67 St. Sofia Minologa, 31
"Old Joe has gone fishing," 46 Salon Mexico, El, 46
Orhaniiska igrd, 35 San Stefano, treaty of, 10
Oriental instruments, 136 Scales: Arabic, 52, 54, 55, 56; gldsove and Orien-
Oriental scales, 52 ff., 130, 143; and gldsove, 63- tal, combined, 63-64; identical scales for happy
64; hidjaskiar, 55; hidschas, 55, 57; huseni, 55, and sad melodies, 58; Oriental, 52 ff., 130, 143;
56; suuzinak, 55; uschdk, 55, 56 pentatonic, 52-54, 124, 130; Persian, 55; un-
Ornamentation, 75 ff.
tempered, 71; Western influence, 66-67
i6o Index
Schlegel, A. W., 2 four-group structures, 98
Schonberg, Arnold, 45 five-group structures, 98
Scriabine, Alexander, 45 six- group structures, 99
Sedenka, 41, 109, 125, 126, 139 regularly repeating groups consisting of dif-
Sequence, 80 ferent number of similar measures, 100
Serbia, 112; Serbian composer notates Bulgarian regularly repeating groups of dissimilar meas-
asymmetric meters, 27 ures, 101
Sharp, Cecil, 4, 53 n. regular period relationship as exception, 17
Shishmanov, Ivan, 8 Stumpf, Carl, 2
Slaveikov, Pencho, 13 Suuzinak, 55
Sla.tnano-bulga.rski signs, 58 Syncopation, 64, 80
Slavs: early music, 11, 58; folk songs and dances,
126; geographic divisions, 7; history, 7; mythol- Tambourine, 135, 141
ogy, 10, 11 Tamburd, 136
Sonata da chiesa, 46 Terpander, 58
Song to St. Sofia Minologa, 31 Thomson, Virgil, 46
Songs. See Bulgarian folk songs Time: basic unit, 21 ff.; double and triple, 17,
Stoin, Vasil, viii, 14, 21, 22, 23, 36 21 elongation of time unit, 21, 23; tempo
n.;
Strauss, Richard, 46 giusto, 121, 130; tempo rubato, 130; temps
Stravinsky, Igor, 45, 46 premiers, 21 ff.
Structure, 82-107; asymmetric, 102; groups of Time signatures, prime-number numerators, 24
dissimilar measures, 103; incomplete, 105; ff.

monorhythmic, 84; ordinary and paeonic Titov collection, 58

meters combined, 104; several groups of simi- Transilient scales, 53
lar measures combined, 102
Tropliva igrd, 31
Tupdn, 135, 141
symmetric, 84; groups of measures identical in Turkey: conquest of Balkan Peninsula, 5, 9, 13,
number and meter, 84 112, 113; Krali Marko as vassal, 110; music,
tzdo-group structures, 85; two measures in 20-21, 25, 27, 29, 29 n., 35, 137
each group, 85; three measures, 86; four Till Eulenspiegel, 46
measures, 86; five measures, 86; six measures,
87; seven measures, 87 Unmeasured meter, 47 ff.
three-group structures, 88 Untempered scale, 71
four-group structures, 88 Uschak, 55, 56
five-group structures, 88; three measures in Usul devr-hindi, 35
each group, 89; four measures, 90 Usul tiurk-aksak, 25
six-group structures, 90; two measures in Uvarova, Countess, 58
each group, 90; three measures, 91; four
measures, 92
seven-group structures, 93; two measures in
Vaughan Williams, Ralph, 4
each group, 93; four measures, 93 Venelin, lurii, 14
Verse* See Bulgarian folk verse
eight-group structures, 93; two measures in Vetrensko horo, 29
each group, 93; three measures, 94
regularly repeating groups containing identi-
Vibagha, 42
cal number of measures of dissimilar me- Vladimir, Prince of Russia, 11
Voznesenski, A., 13 n.
ters, 95
two-group structures, 95; two measures in
each group, 95; three measures, 95; four Wellesz, Egon, 58
measures, 96; five measures, 96; six measures, Western influence. See Occident
96
three-group Structures, 97; two measures in Yugoslavia, 10, 27
each group, 97; three measures, 97; four
measures, 97; five measures, 98 Znamenny signs, 58
 INDEX TO METRIC SIGNATURES

I. Regular patterns. In 8/16(3 + 2 + 3): examples 88, 154, 159,

In 2/4: examples 2, 3, 76, 79, 89, 90, 100, 101, 194, 205.
102, 105, 108, 117, 121, 143, 145, 147, 155, Combination of 8/16 and 3/16: example 208.
162, 165, 177, 178, 183, 184, 185, 187, 189, Combination of 8/16 and 5/16(2 + 3): ex-
191, 200, 204, 215, 218. ample 56.
Combination of 2/4 and 3/4: examples 5, 16,
169, 170. In 9/16(2 + 2 + 2 + 3): examples 31, 70, 71,
119, 120, 140, 142, 160, 207, 216.
In 3/4: example 24. In 9/16 (2 + 3 + 2 + 2): examples 45, 196.
Combination of 3/4 and 2/4: examples 6, 17 Combination of 9/16 (2 + 2 + 2 + 3) and 5/16
Combination of 3/4 and 4/4: example 7. (2 + 3): example 173.
Combination of 3/4, 4/4, 2/4, and 5/4: ex- Combination of 9/16 (2 + 2 + 2 + 3) and 7/16
ample 9. (2 + 2 + 3): example 174.
Combination of 3/4, 5/4, and 4/4: example Combination of 9/1 6 (2 + 2 + 2 + 3) and 9/16
8. (2 + 3 + 2 + 2) example 46.
:

In 3/8: examples 4, 26, 153. In 9/8 (2 + 2 + 2 + 3): example 33.

Combination of 3/8 and 2/8: example 11. Combination of 9/8 and 5/8 (2 + 3): example
Combination of 3/8 and 4/8: example 12. 193.

In 4/4: examples 73, 186. In 10/16 (3 + 2 + 2 + 3): examples 43, 152.

Combination of 4/4 and 3/8: example 14. In 10/16 (3 + 3 + 2 + 2): example 49.

In 5/4: example 15. In 11/16 (2 + 2 + 2 + 2 + 3): example 34.

Combination of 5/4, 3/4, and 4/4: example
10.
II. Asymmetric patterns.
In 5/16(2 + 3): examples 19, 22,
141, 158, 180, 190, 203, 206.
In 5/16 (3 + 2): example 38.
Combination of 5/16 (2 + 3) and 9/16 (2 + 3 +
2 + 2): example 57.
Combination of 5/16(2 + 3) and 11/16(2 +
2 + 2+2 + 3): example 62.
In 5/8: examples 30, 32, 99.
Combination of 5/8 and 3/8: example 13.
Combination of 5/8, 4/8, and 3/8: example
167.
In 7/16(2 + 2 + 3): examples 23, 25, 27, 28,
116, 139, 146, 157, 161, 163, 164, 182, 219.
In 7/16 (3 +2 + 2): examples 39, 40, 137, 156.
Combination of 7/16(2 + 2 + 3) and 5/16
(2 + 3): examples 107,
179.
Combination of 7/16 (2 + 2 + 3) and 9/16 (2 +
2 + 2 + 3): example 166.
Combination of 7/16, 5/16, and 9/16: ex-
ample 172.
Combination of 7/16, 3/16, 2/8, and 5/16.
See example 54.
In 7/8 (3+2 + 2): example 41.
In 11/16 (3 + 2 + 2 + 2 + 2): example 42.
In 11/16(2 + 2 + 3 + 2+2): examples 47,217.
Combination of 1 1/16 (2 + 2 + 2 + 2 + 3) and
5/16 (2 + 3): examples 55, 175.
Combination of 11/16(2 + 2 + 3+2 + 2) and
104, 118,
5/16 (2 + 3): example 168.
In 12/16 (3 + 2 + 2 + 2 + 3): example 44.,
In 12/16(2 + 3+2+2 + 3): example 50.
In 12/16 (2 + 2 + 3+2 + 3): example 51.
Combination of 12/16 (2 + 2 + 3 + 2 + 3) and
7/16 (2 + 2 + 3): example 58.
Combination of 12/16 (3 + 2 + 2 + 2 + 3) and
2/4: example 181.
In 13/16 (2 + 3+2 + 2 + 2 + 2): example 48.
Combination of 13/16(2 + 2 + 2 + 2 + 2 + 3)
and 9/16 (2 + 2 + 2 + 3): examples 171, 176.
In 14/16 (2 + 3 + 2 + 2 + 2+3): example 52.
In 14/16(2 + 2 + 2 + 3 + 2 + 3): examples 53,
150.
Combination of 15/16(2+2+2+2+2+2+3)
and 9/16 (2 + 2 + 2 + 3): examples 35, 36.
In 17/16(2 + 2 + 2 + 2 + 2 + 2 + 2 + 3): exam-
pie 37.
In 19/16 (7/16 + 3/16 + 2/8 + 5/16): example
54.
i&2 Index
III. Unmeasured songs. IV. Combination o asymmetric measures with
Examples 1, 18, 59, 60, 61, 65, 66, 69, 95, 97, unmeasured.
110, 122, 131, 132, 133, 135, 144, 188, 192, Example 62.
195, 197, 198, 199, 201, 202, 209, 210, 211,
212, 213.
 INDEX OF SONG TITLES

Where song titles do not appear in the text, first lines (both in the original and in translation) have
been included in the Index.

Adorned Brother-in-Law, The, 43 Elena,Young Maiden, 37

Aide dude, 71 Elenka Had Made a Bet, 38
AliMnchev6di,42, Elena mome, 37
Ali Leads His Horse, 42 Engagement Guests, 115
Arranging Irinka's Engagement, 100
At the Girl's House They Plan a Wedding, 116 Father Has Just Gone Off to the Mill, 107
At Least, Dear Mother, I Was Long Enough a Fix Yourself Up, Radka, 92
Bachelor, 117 For the Young Man We Begin Sowing, 116
Auntie, Let Todorka Come with Me, 65 Furchele mi, 20

Barem si ergen, mdmo, pohodih, 117 Get Up, Stana, 99

Barren Goat, The, 68 Gleda brdta si, 95
Beautiful Horse, 61 GUdai me, gledai, 117
Blaze na Dona, 87 God, Give Rain, 122
Bogova zvezdd, 128 Gold-plumed Partridge, 106
Bolen Doichin, 56 Gosti godeznitzi, 115
Boli Idna bela gurlo> 30 Gray Doves Flew, The, 20
Bonka Has Been in Love with Shanko, '87 Grozddnka i Eogddn Voivoda, 57
Bdnka sa liubi sus Shdnko, 87
Bore mi sa e, mdmo, zndilo, 63 Had I Known, 44
Brdino lovdne, ne gledai momdta, 127 Harvest Song, 47
Bre Ttidore, 57 Here Comes Silly lana, 25
Bride Who Was Buried Alive, The, 132 H6r6 igrde, 94
Btilka i
gord, 123 How Long Can Our Friend Be with Us? 93

Call on Donka, Mother, 65 I dz beh ednd na mdika, 27

Carolers, Songsters, 121 I Do Not Grieve, Mother, 98
Cheeli ke i k&pam, 105 I See Dark Fog, 120
Christmas Carol, 71 I,Too, Was the Only Child of My Mother, 27
Chtidam sa mdicho, 68 I Will Buy Her Slippers, 105

Come, Thou Maiden, Bow Your Head, 118 I Wonder, Mother, 68

Cursed Be the Hour, 95 Id nali ti kdzah, 89
Id stdni, Stdno, 99
Da ktigd ni drugdr ddvash, 93 lana's Fair Throat Aches, 30
Da sum zndila, 44 lanka Was Alone When Overtaken by
Dai, Bdze, duzd, 122 Darkness, 77
Dali gurmi? 63 Idit mdmo, ti D6nkinif 65
Dark Fog, 79 lele'no, mome hubava, 99
Dear Flower, Beautiful Flower, 17 lovan Was Hired, 64
Did I Not Warn You? 89 Thundering? 63
Is It
Dissatisfied with Her Quarrelsome Mother-in- lunak Song, 48
Law, 19 Izgrei mif idsno sliinchitze, 118
Divine Star, 128 Iziadil e dobur iundk, 40
Domakinti dom doido m&, 40 Izlidzla na pMa, 102

Eld sa vivat 65 Kakuv e spomen, 76

Elena, the Green Burning, 97

Hay Is Kalina seno pldstila, 79
Elena, Pretty Maiden, 99 Kalina Was Gathering Hay, 79
164 Index
Kapndla mi e kdpchitza, 90 Open Wide the Gates, 119
Kato Gdna nide nema, 91 Ostdna kozd ialova, 68
Kiten Dever, 43 Ot dolu ide ludata Idna, 25
Kogo pitash, Christina, 125 Ot dolu Me mdmo, momche dolinche, 28
Koi ti
kupif 42 Otodraip6rti,\\
Kolezddntzi, pesnopoitzi, 121
Kdmu da me ddde, 141 Paidtishka, 25
Konia, konia, rdnen konia, 61 Peperuda, 122
Krali Marko, III Pilgrims to the Holy Land, 18
Kurshim pletu, vdrdim se, 104 Po livddi, po gramddi, 34
Kurvauitza na politza, 71 Pod drena 44 f

Podigni si devo, Purvo, 88

Lad Sat Down to Dinner, A, 41
Lada Went to Fetch Some Water, 80
Last Night, 82
Last Night, My Love, I Passed by Deserted
Vratza, 57
Lazy at Home, 120
Let Us Take Draganka, 130
Level Green Meadow, The, 71
Libe Dobrinke, 54
Lib* 1-e, libe denguba, 92
Libe Petka.no> 97
Lift Your Veil, Purva, 88
Liubili su, Stoidn i Rdda, 83
Look at Me, 117
Lord Himself Worked Against Odds, The, 49
Lucky Dona, 87
Lullaby, 19
Maiden Planted Onions, A, 62
Maidens Have Gone to Gather Firewood,
The, 34
Mdika Irinka godidva, 100
Mama, mila mdmo, 32
Mdmi Stoidnu dumashe, 49
Mart devoiche nemilostivo, 83
Mart Eleno, 47
Mariika na stol sedeshe, 80
Mariika Sat on a Chair, 80
Marko's Wedding, 95
Mika's Mother Bragged, 96
Mldt Ruidn, 54
Moli se, libe, na Boga, 128
Mother, Dear Mother, Who Knocks
Gate? 32
Mother Told Stoian, 49
My Son Has Fallen in Love with You, 78
Na ergenia zasidvame, 116
Nadpevat set 35
Ndni mi, ndni, 19, 129
Ne te li milo, Mario, 119
Nedovolna ot svekurva kavgadjika, 19
Nymph Built a City, A, 29
Obsddata na Pleven, 109
OH bre ofchdrche, shliagdrche, 96
Oil devdiko, shto me morish, 22
Pofdlila se Milkina mdika, 96
Poide Ldda na voda, 80
Poiskdla Rddka, 59
Polieleiat na Bulgarkata, 12
Poshli devoiki na sechki, 34
Potdino Rdda godia, 106
Pozgodil mi sa mldd Georgi, 62
Pray, Sweetheart, to the Almighty, 128
Prevedisa, 118
Proklet da e, 95
Prosperous New Year, A, 78
Pusni mi, lelio mari, Todorka, 65
Pustite mil, momif 70
Rada Was Secretly Engaged, 106
Radka's Desire, 59
Raindrop Fell, A, 90
Rdvna zelena mordvaf 71
Sadila momd luk, 62
Samd Idnka zamrukndla, 77
Samodiva grdd gradila, 29
Sednd momche da vechera, 41
Sedni b&lka, 79
Seite, drushki,77
Shair po dvor odi, 85
Shair Walked through the Yard, 85
She Came Out on the Street, 102
Shine Forth up in the Sky, 118
Sick Doichin, 56
Siege of Pleven, The, 109
Sin mi kerko te miluval, 78
at the
Singing Contest, The, 35
Sister Mariika, Have You Been to Market? 70
Sit Down, Young Bride, 79
Slaveiche pee, 60
Sluntzeto ne moze na nadgree Dobrinha, 131
Sluntzeto, Stdno, zatdda, 72
Sluntzeto trepti, izticha, 127
Snoshti doide, 101
Sndshti si, 82
Snoshti si minah, 57
Soki krekat, 105
Song at the Dinner Table, 49
Song of the Nightingale, The, 60
Song to St. Sofia Minologa, 31

Song for Swinging, 57

OH, Leno, 97 Sow, MyFriends, 77
Olele kdko, 70 Stoian and Rada Loved One Another, 83
 Index 165
Stoian Played on the Shepherd's Flute, 114 Veno le, Veno gdliena, 33
Stoidn sus svirka svireshe, 114 Vilaseloza, 117
Stoian Was in Debt, 44 Vine Winds, A, 117
Strange lunak, A, 101 Vrdgdena nevesta> 132
Sun Cannot Outshine Dobrinka, The, 131 Vrdneiat se vrdni konie, 86
Sun Glitters As It Rises, The, 127 Vuf momdta bidgur chistiat, 116
Sun, Stano, Is Setting, The, 72
Svetogortzi, 18 Watching Her Brother Plow, 95
Sweet Dobrinka, 54 We Sing to You, Our Master, 26
Sweetheart, Day dreamer, Sweetheart, 92 Weeping for Indje voiv6da f 1 12
Sweetheart Petkana, 97 Who Bought You the Pretty Present? 42
Wild Maidens of Vakarel, The, 70
Ta koii mi kdra, 104 Will You Not Mourn, Maria? 119
Tafri Rdtke, 92
se, Willow Bends Its Branches, The, 65
Tebe peiern, chorbadzine, 26
There Are the Dark Horses, 86
There Was a Meeting, 48 Young Bride and the Forest, The, 123
There's No One Like Gana, 91 Young Georgi Became Engaged, 62
Think Again, Christina, 125 Young Ruian Has Fallen 111, 54
Three Days and Three Nights, 105 Young Shepherd, Pray Do Tell Us, 96
To Whom to Betroth Me? 141 Young Tzona Has Just Lost Her Tiny Baby
Todor Stole Stoian 's Oxen, 98 Boy, 83
Torba strunkiama, 44 Your Friends Are Weeping, 83
Tri dni i tri noshti, 105
Your Mother, Stona, Has Given Instructions, 79
Trunchitza sa obronila, 89
Tumna mugld, 79 Zaddde se, Stuie'ne le, tumna mugld, 120
Tunka pushka, 33 Zadulza Stoidn, 44
Turchin sldza iz gord zelena, 20 Zagubila Tzona, 83
Turk Descends from the Green Forest, A. 20 2dlba, 98
Tzenil se lovdn, 64 Zaliubil Stuian tri momi, 23
Tzvete milo, tzvete krdsno, 17 Zaliubila Vangelina, 72
Zaoblagdla se Elenka, 38
TJkrdde Todor, 98 Zaradi Indje voivoda, 1 12
Under the Dogwood Tree, 44 Zarucha, Stona, mdika ti, 79
Zatrudil sa e sdm Gospot, 49
Vangelina Has Fallen in Love, 72 Zazeni se Mdrko, 33
Vela, What a Flirt You Are, 96 Zdrdva godinchitze, 78
Velo lef golem gidvole, 96 Zlatokrila idrebitza, 106
128 190