The magazine is a publication of FNOI at Sofia University with a main focus in the field of music and other arts, as well as in the field of general cultural discourse and multimedia developments and research. We strive to give a platform to both young scientists and doctoral students from higher education institutions and scientific institutes, and to encourage discussions and research in these fields of science.
Sofia: "St . Kliment Ohridski" University Publishing House, 2024-
Opera titles based on classical literary works
Opera among musical and stage genres is like the collection of classic novels in the machine of world literature: it is that part of art that remains and will remain alive for centuries. It carries the stories of the past, but is still relevant today; a teacher for young and old. Going to the opera house is a much “powdered” version of sitting with a book and coffee by the fireplace or window on a rainy day. You sit in the salon to enjoy a story; to feel the love, suffering, and torment of the characters; to reflect on your life; to learn something new and, above all, to get pleasure from the music, the artists, and everyone who creates the magic of the theater. Opera is a collection of all the arts, and that is what makes it so great. Each is difficult to understand, but with time and the right selection of composers and works directs the interests of the viewer - you inevitably fall in love. Here are the paintings and sculptures in decor, props, and costumes; dance and rhythmic gymnastics in ballet; music in the score under the baton of the composer, in the orchestra, soloists, and chorus on stage; acting; and, of course, the libretto-poetic text that will be told. What is more, often the libretto in the opera is based on classic novels. These are "Carmen", "La Traviata", "Lucrezia Borgia", "Othello", "Boris Godunov", and many others. That is why one of the strongest connections between literature and music is born in the opera. What changes does the dramatic text undergoes to be included in an opera libretto, and how this is formed, we will follow here.
Copyright (c) 2025 Нелли Динева- Докторант, Доц. д-р Христо Карагьозов https://creativecommons.org/licenses/by/4.0
FROM THE LITERARY TEXT TO MUSICAL IMPROVISATION
The perception of literature and musical art is regarded as one of the most complex and abstract cognitive experiences in human consciousness. The combination of verbal text and sound creates a new, multi-layered experience, whether through song form, improvisation, or similar creative means of expression. The cultivation of such a culture in early childhood has been demonstrated to contribute to the development of imagination, flair, and creativity. The creation of instrumental or vocal interpretations based on literary works has been demonstrated to facilitate the development of tonal thinking in children. This phenomenon is not perceived as the conventional practice of "composing" music, but rather as a spontaneous and natural form of expression that manifests through play. One of the educator's tasks is to guide, develop, and direct this perception, thereby establishing it as the foundation for fostering sonority, intuition, and hearing. Musical improvisation constitutes a pivotal element within the framework of contemporary music education. The pedagogical approach in question has been demonstrated to engender independent reasoning, resourcefulness, and spontaneous expression in students. Furthermore, it has been shown to enhance students' capacity to generate and adapt complex musical imagery in real time. Finally, it has been demonstrated to cultivate confidence and a sense of freedom in music creation. The integration of poetic content serves as a foundational element, introducing nuanced dimensions that facilitate interpretation and expression. Consequently, the lyrics serve not only as a source of musical inspiration but also as a catalyst for emotional engagement and intellectual depth, thereby fostering a more meaningful relationship with the music.
Copyright (c) 2025 Мария-Магдалена Недкова, докторант, Доц. д-р Веселин Караатанасов https://creativecommons.org/licenses/by/4.0
MUSIC AND LITERATURE. THE ROLE OF THE ARTS IN THE 21ST CENTURY
The article explores the interplay between music and the written word as a fundamental element of human cultural evolution—from Antiquity to the digital age. Within a historical and cultural framework, it traces the connections between arts through different epochs—Ancient times, the Middle Ages, the Renaissance, Romanticism, and Modernism—and analyzes how music and literature reflect humanity’s pursuit of meaning, identity, and transcendence. They are considered not only as aesthetic expressions, but also as mechanisms for preserving memory, building community, and resisting dehumanization in the contemporary world. Particular emphasis is placed on the role of art in the 21st century as a medium of resistance, solace, and hope in the face of technological transformation.
Copyright (c) 2025 Ас. д-р Ралица Люцканова https://creativecommons.org/licenses/by/4.0
THE ROLE OF THE TEXT IN DIFFERENT STAGES OF THE JAZZ EVOLUTION
This publication examines the relationship between music and text in jazz. It presents some observations regarding the importance of lyrics in the different stages of jazz development. It also addresses the question of whether music and text are always related. It traces the transfer of musical material from vocal to instrumental jazz and vice versa to establish the role of the text in this context.
Copyright (c) 2025 Гл. ас. д-р Десислава Тилева https://creativecommons.org/licenses/by/4.0
THE IRREGULAR MUSICAL MEASURES IN THE TRAINING OF FUTURE MUSIC TEACHERS AND STUDENT SOUND ENGINEERS
The study presents results from a test form to verify the competencies and skills of students to recognize, compare and distinguish from the sound of music various metrical phenomena characteristic of Bulgarian musical folklore. Their achievements at the end of their training in various folklore disciplines and the possible reasons for the mistakes made were analyzed. The studied group consists of students with majors in “Music” - Bachelor's degree, “Musical Media Technologies and Sound Engineering” - Bachelor's degree and master's programs in “Musical Pedagogy”, “Musical Pedagogy - Leadership of a Folklore Formation” and “Musical Pedagogy - Leadership of a Musical Formation”.
Copyright (c) 2025 гл. ас. д-р Рая Ковачева https://creativecommons.org/licenses/by/4.0
M. Szk. JEWELS AND JEWEL CASES: THE DEPICTION OF J. R. R. TOLKIEN’S THE SILMARILLION (1977) IN BLIND GUARDIAN’S NIGHTFALL IN MIDDLE-EARTH (1998)
Written throughout J. R. R. Tolkien’s literary career and later edited and published by Christopher Tolkien, The Silmarillion (1977) portrays the origins of Tolkien’s fictional universe including the creation of Elves, the war over the Silmarils, and the rise of Morgoth, which leads to Sauron’s emergence. It has been a source of inspiration for various artists, one of which is the German power metal band Blind Guardian. Their 1989 conceptual album Nightfall in Middle-Earth (1998) retells Tolkien’s story over a series of songs forming a narrative that uses sonic elements and spoken word to highlight the main elements of the book. This article aims to showcase the methods implemented by Blind Guardian in order to adapt the story for music.
Copyright (c) 2025 Magdalena Szukalska https://creativecommons.org/licenses/by/4.0
ON SOME LESSER-KNOWN MULTI-PART VOCAL WORKS BY PETAR STUPEL
The attitude of the composer Petar Stupel (1923 – 1997) to the speech is special – not only because of the genre specificity of the predominant part of his voluminous work, but as a conscious need for a connection with literature. It is especially important to emphasize the leading role of texts in the creation of his vocal music. In addition to the well-known and repeatedly performed oratorio “Darzhava Pioneriya” (“The State Pioneriya”), Petar Stupel is the author of several more multi-part vocal works for children, named by their author as oratorios and cantatas. Some of them have been printed and / or issued on gramophone records, and others, although specially commissioned by children's choir formations, have remained only as traces in time from their first performance or other performances in the years surrounding their creation. At the moment, two such works have been discovered: “Sartse kato slantse” (“Heart Like a Sun”) – an oratorio for two choirs – children’s and mixed and string chamber orchestra based on a text by Georgi Strumski, whose manuscript is preserved in the archive of the “Milka Stoeva” Choir School – Burgas, and the three-part cantata “Usmihnati zvezdi” (“Smiling Stars”) for chamber string orchestra and children’s choir based on a text by Krastyo Stanishev, preserved in a copy of the manuscript in the archive of the “Prof. Georgi Dimitrov” Choir School – Yambol. Copies of these two works are not found in the composer's personal archive. The text is an attempt to shed light on the little-known or completely forgotten children’s oratorios and cantatas of the composer Petar Stupel, beloved by generations of Bulgarian children
Copyright (c) 2025 Гл. ас. д-р Диана Данова-Дамянова https://creativecommons.org/licenses/by/4.0
SOME INTERPRETATIONAL PROBLEMS IN THE PIANO CYCLE „CLASSICAL AND ROMANTIC“, OP. 24 BY PANCHO VLADIGEROV
The article comments on some interpretation problems in the piano cycle „Classical and Romantic”, opus 24 by the composer Pancho Vladigerov. The observations were made during the course of the educational activity with students majoring in «Music» and «Music Media Technologies and Sound Engineering» from Sofia University «St. Kliment Ohridski», Sofia. Work on the piano cycle is carried out in the classes of the subject «Compulsory Piano», developing the students› piano skills and fulfilling the set goals for the implementation of the project «Emotions in Notes: Vladigerov›s «Classical and Romantic» Cycle».
Copyright (c) 2025 доц. д-р Ралица Димитрова https://creativecommons.org/licenses/by/4.0
Hr. Karag. APPLICATION OF HARDWARE MASTERING COMPRESSORS IN POST-PRODUCTION
Hardware mastering compressors are a must-have in any studio specializing in mastering. However, as we will learn from this study, they cannot always fulfill all the specific tasks that the mastering engineer is faced with. This is due to some peculiarities in the algorithmization used in sound processing, which is responsible for achieving the specific tasks of the final sound processing. Therefore, it is necessary to use hybrid setups, which differ both in terms of switching and in types of devices. These setups depend mostly on the style of the mastering engineer; and on the concept of the respective studio. However, the role of hardware processors in mastering remains high even with the availability of new and modern software algorithms for processing the music.
Copyright (c) 2025 Доц. д-р Христо Карагьозов https://creativecommons.org/licenses/by/4.0
Dimova НА КРЪСТОПЪТЯ НА СЕТИВАТА: ДВАДЕСЕТ ТЕЗИСА ЗА СИНЕСТЕЗИЯТА В ЕВРОПЕЙСКИЯ МОДЕРНИЗЪМ
Статията проследява някои естетически, културни и научни дискурси на синестезията в модернизма, като представя двадесет тезиса за цветния слух от книгата на автора На кръстопътя на сетивата (Dimova, 2024). През призмата на невронауката и сетивната история синестезията е концептуализирана като физиологично, художествено и културно единство на сетивата. Явява се определяща фигура в модернизма, която в моята трактовка вдъхновява интермедиалните експерименти в модерното изкуство. В тази теория осмислям адаптацията чрез екфразата като пренос между изкуствата. Така твърдя, че синестетичните метафори предчувстват бъдещи мултимедийни адаптации. В основната част разглеждам някои интермедиални проекти, започвайки с музикалните драми на Рихард Вагнер и синестетичната им рецепция от Шарл Бодлер. По-нататък обсъждам как абстрактното изкуство на Василий Кандински и цветната музика на Александър Скрябин са вдъхновени от синестезията като сетивно, естетическо и мистично преживяване, спомогнало за възникването на абстрактното изкуство. Накрая предлагам методология на сетивното четене за анализ на интермедиални адаптации и в съвременното българско изкуство.
Copyright (c) 2025 доцент д-р Полина Д. Димова https://creativecommons.org/licenses/by/4.0
Bach vs AI REVIEW Of the book “Bach vs. AI or Can the Machine Create Art” " by Associate Prof. Hristo Karagyozov From Cristo Taneff
"BACH vs AI" is an essential reading for anyone interested in the intersection of art and technology. It challenges both technophiles and traditionalists to think deeply about creativity, our inner dimensions, and the experience of art. The reviewer is a researcher in Natural Language Processing at the Joint Research Centre in Ispra, Italy. Is working on knowledge acquisition from texts, text classification, and related topics. His current research interests are in the area of socio political event detection, geocoding, information extraction, lexical learning and terminology extraction, text classification, and deep learning.
Copyright (c) 2025 Christo Tanev https://creativecommons.org/licenses/by/4.0
A program model aimed at enhancing the musical literacy of third-grade pupils
This article presents a modern pedagogical model of musical literacy suitable for pupils in primary school. The model is based on historical experience with notation systems and literacy methods used in music practice and education, combined with the usage of digital tools during lessons. The innovation introduced expands the level of music-theoretical culture of the children and enriches the aesthetic space with which kids can interact. The innovative model for music literacy mentioned here is the subject of an original work. It has been adapted and approved specifically for the needs and interests of third-grade pupils in general education. It complies with the music school curriculum defined by the Ministry of Education. It is suitable for use by students of music, pre-school, and primary education, as well as teachers working in these fields. Notes Ministry of Education and Science website [viewed 30 June 2023] Available from: https://web.mon.bg/bg/1699 Proposed Curriculum for Music in Second Grade. Website of the Ministry of Education and Science [viewed 30 June 2023] Available from: https://web.mon.bg/bg/1997 Proposed Curriculum for Music in Third Grade. Website of the Ministry of Education and Science [viewed 30 June 2023] Available from: https://web.mon.bg/bg/1689 References Beloborodova, V., 1975. Muzikalnoe vospriatie shkolnikov. – Moscow: Muzika Gaitandzhiev, G., 1980. Masovoto muzikalno vuzpitanie. Sofia: Narodna prosveta [In Bulgarian] Kabalevskii, D.B.,2022. Muzika v vospitanii I razvitii rebenka. Кабалевский, Д.Б., 2022. Moscow: Armita-Rus, ISBN: 978-5-413-01801-9 Karaminkova-Kabakova, E. (2020) Muzikalnoto nasledstvo: kakvo ostava sled nas? Godishnik na SU “Sv. Kliment Ohridski” vol.113 p. 186 ISSN 2738-7062 [In Bulgarian] Vetlugina, N.A., 1980. Vozrast I muzikalnaia vospriemchivost. Available from V.N. Maksimov, Moscow: Muzika
Copyright (c) 2025 https://creativecommons.org/licenses/by/4.0
Съвременни проблеми в обучението по музика в общообразователното училище
The study focuses on current problems related to music education in Bulgarian secondary schools, thus the study does not pose questions that are impossible to solve. In this case, the aim is to promote teachers’ views and help create a more conducive school environment. Sources used: Naredba № 4 ot 20 april 2017 g. za normirane i zaplashtane na truda, v sila ot 01.01.2017 g.,izdadena ot ministara na obrazovanieto i naukata. Obn. DV. br. 34 ot 28 April 2017g., izm. DV. br.7 ot 23 Yanuari 2024g. https://lex.bg/en/laws/ldoc/2137089558 Strategicheskata ramka za razvitie na obrazovanieto, obuchenieto i ucheneto v Republika Bulgaria (2021 - 2030) https://web.mon.bg/bg/143
Prof. Jordan Tsankov Kolev's pedagogic works of music in entire educational and interdisciplinary aspect
The composer Jordan Cankov Kolev, D.P.S., is the doyen of the music training at Sofia University ‘St. Kliment Ohridski’, later he is one of the founders of the specialty pedagogic of music, leader of Department ‘Pedagogic of Arts’ and head of Sector ‘Music’, assistant professor and professor of solfeggio, theory of music and pedagogic of music. With academician Blagovest Sendov and experts in different fields of pedagogic he takes part in the ‘Problem Group of Education’ at BAS and he carries out the idea for integrated relations between music, arts and sciences in primary education. He composes in a variety of genres, generally recognized as an author of solo songs for the Bulgarian pop art and the youngest children. He recreates the figurative world of the childhood by means of national peculiarities of prosody of Bulgarian language and folk sonority and rhythmic in the melody. The theme makes acquainted with pedagogic and music works for children. The titles are classified according to its function in Application. Literature: Atanasov: 1986. Atanasov Zhecho. Balgarska narodna pedagogika. Sofia, Narodna prosveta, 1986. Atanasov: 1968. Atanasov Zhecho. Izkustvo i vazpitanie. Sofia, Narodna prosveta, 1968. Borisova: 1988. Borisova Violeta. Dinamika na esteticheskite potrebinosti pri nepalnoletniya pravonarushitel – uchenik ot trudovo-vazpitatelno uchilishte. – Godishnik na SU ‘St. Kliment Ohridski’ – Faculty of Primary and Pre-school Pedagogics. Vol. 81, 1988, 294–311. Boyadzhieva: 1984. Boyadzhieva Neli. Formirane na potrebnostite ot hudozhestvena kultura u podrastvashtite. Sofia, Narodna mladezh, 1984. Dimitrov: 1988. Dimitrov Lyuben. Obrazovanieto i drugite sferi na duhovnata kultura. Sofia, Narodna prosveta, 1988. Integraziya: 1986. Integraziya na obrazovanieto s naukata, kulturata i proizvodstvoto. Sofiyska gradska nauchno-prakticheska konferenziya, Vol. 1–2. Sofia, MNP, 1986. Krasteva: 1996. Krasteva Svetla. Natsionalna nauchno-prakticheska konferenziya „Savremenni problemi na muzikalnoto vazpitanie i obrazovanie v Bulgaria“. Sofia, Sofia University ‘St. Kliment Ohridski’, 1996. – Pedagogika, 1996, № 10, 107–108. Piryov: 1996. Piryov Gencho. Integrativnata funkziya na obrazovanieto. – Pedagogika, 1996, № 11, 28–36. Sendov: 2001. Sendov Blagovest. Algoritam na zhivota. Sofia: Zahariy Stoyanov, 2001: 44– 113. Boracheva: 2020. Boracheva Rozi. Ocharovanieto na Sendovata sistema. 20.07.2020. https://roziboracheva.com/2020/07/20/%d0%be%d1 Petrov: 2017. Petrov Filip. Problemna grupa v obrazovanieto – sistemata na akad. Blagovest Sendov. 15.10.2017. https://ekipbg.com/pgo-blagovest-sendov/ Sendova: 2021. Sendova Evgeniya. Za ‘Sendovata sistema’ i chudesata v obrazovanieto. 19.01.2021. https://bnr.bg/hristobotev/post/101406964/akad-blagovest-sendov
A comparison of the policies governing repertoire in student orchestral practices of both the past and the present
It is widely acknowledged that school and youth brass bands play an important role in the formation of qualitative aesthetic criteria in adolescents. This has prompted interest in their current repertoire, and the results of this research are reflected in this publication. Its main aim is to clarify the direction of development in this field and to elucidate the processes that have led to the current shape of the practice. The musical preferences of ensembles are examined from different perspectives, including historical time (from the period of the practice's emergence to the present day), cultural needs, and material possibilities. These observations help to clarify the relationship between traditionally established repertoire and contemporary trends in the field of wind music. The exposition is structured by conditionally grouping the ensembles according to similar features. The approach allows us to see both the common ground and the individual approaches taken by the orchestras. It also helps us to understand the prevailing trends and to draw the necessary conclusions. The research uses a variety of empirical methods, including concert visits, interviews with school brass band directors, internet sources, and so on. Cited literature: Buleva, M. (2019) Minor i radost: opit za pronikvane v muzikalnoto mislene prez masovata pesen ot 40-te do kraja na 50-te godini na XX vek, Sofia: Bulgarsko muzikoznanie, 4, s. 51 Chendova, E. (2000) Gradskata tradicionna instrumentalna kultura v Bylgaria ot kraya na XIX do nachaloto na XX vek, Sofia: Poni, s. 163-164 Draganova, R. (2020) Muzikata v bulgarskoto uchilishte v kraia na XIX I nachaloto na XX v. Sofia: BAN, s. 5 Markova, Ts. (1992: DF Poliprint Vratsa) Dunavsko horo zakicheno s aleno mushkato, s. 65 Mehan, K. (1926) Hronika, Stara Zagora: Kaval br. 2, s. 4 Naidenova, G. (2016) Bulgarian Politic Stance Towards Communal Amateur Music Activity (“Samodeynost”) Within the Context of Music Culture Politics by the Times of Science, Art and Culture Committee (1948–1954), Sofia: Almanah 8. Nikolova, Y., (2017) Svishtovskite duhowi orkestri, Duhovata muzika na Targovskata gimnazia „Dimitar Hadvivasilev“ Svishtov, s. 78 Rusev, N., (1975) Uchenicheskite duhovi orkestri na nov etap, Hudozhestvena samodeinost, Komitet za izkustvo I kultura, Centar za hudozhestwena samodeinost, s. 20 Slavova, C, (2017) Ot baj Diko do „Tiko, tiko…“ ili magiata na duhovata muzika, Sofia: Muzikalni horizonti, 9, s. 9 Sotirova, V., Draganova, R., Kaloferova, G., Mateeva, Z. (2018) Muzika za 7 klas, Sofia: Prosveta, s. 52 Terziev, N. (1938-39) Za uchenicheskite muziki, Sofia: Muzikalna missal kn. 1, 2, s. 12 Trichkov, B. (1931), Uchilishtnite duhovi muziki u nas, Sofia: Muzikalen zhivot, g. 1, s. 1 Electronic sources: Balkanton (1993) plocha na Predstavitelen detsko-yunosheski duhov orkestar „Stefan Stefanov“ pri Narodno chitalishte „Svetlina“, Gara Elin Pelin, s hudozhestven rakovoditel i dirigent Dobrin Ivanov (https://www.youtube.com/watch?v=wwii1BMtea8) Dencheva, K. (28.09.22) Lqtna muzikalna akademia Koprivshtica, Spodeleno valshebno prikljuchenie s muzika (https://brass.bg/summer-academy-2022/) Accessed: 17.01.2024г. Todorova, E. (21.10.2019) „Dzhuniar bend“– detskiat duhov orkestar, kojto pokori internet (https://dariknews.bg/novini/interviu/dzhuniyr-bend-detskiiat-duhov-orkestyr-kojto-pokori-internet-2192718) Accessed: 13.03.2023.
Tрансформацията на съществуващи жанрове като необходима модификация при създаване на мюзикъл за детска градина
The article discusses the need to introduce the genre of children’s musical in Bulgarian kindergartens. A modified format of the new genre "kindergarten musical", developed through the transformation of other existing genres that are close to children’s experiences and perceptions, is presented. The process of transformation is detailed as a step-by-step modification of text, songs, and musical arrangement. Similarities and differences are highlighted between the two genres suitable for transformation into a kindergarten musical – the original musical fairy tale and the digital audio fairy tale. The author’s pedagogical experience related to staging kindergarten musicals, created through the transformation of existing genres, is also included. References: Boyanova, Stankova 2010: Boyanova V, Stankova М. Hiperaktivnost i defitsit na vnimanieto, „FSK“, Sofia. Karadzhova, Shtereva 2013: Karadzhova К., Shtereva D. Izpolzvane na igrata kato sredstvo za vazdeystvie i razvitie pri detsa s umstvena izostanalost Universitetsko izdatelstvo „Sv. Kliment Ohridski “, Sofia. Marinov 2013: Marinov Е. Rehabilitatsia i ergoterapia pri detsa sas SOP Universitetsko izdatelstvo „Sv. Kliment Ohridski “, Sofia. MON 2016: Naredba № 5 ot 3 yuni 2016 g. za preduchilishtnoto obrazovanie, v sila ot 01.08.2016 g. https://lex.bg/bg/laws/ldoc/2136850647 Narachnik za rabota s detsa sas SOP v preduchilishtna vazrast, v pomosht na uchitelya 2019: Proekt na RAABE (Chehia, Slovakia, Bulgaria – s uchastieto na Evgenia Vitanova), Praga. Panayotova 2023: Panayotova C. Pepelyashka – muzikalna prikazka, Sdruzhenie ,,Svetat na detsata – bez granitsi‘‘, Sofia. Todorova 1965: Todorova D. Muzikalni prikazki. Nauka i izkustvo, Sofia. Shopov, Spasov, Hristov 1987: Shopov М., Spasov D., Hristov М. Muzikalni prikazki i pesni za zdraveto. Balkanton, Sofia.
Digital room corection systems in control and listening rooms
Soundproofing panels are a fundamental element for managing room acoustics, helping to reduce unwanted sound reflections and improve sound quality. They are used in various environments, including recording studios, home theaters, offices, and public spaces. Despite their use, there still exists an issue with the acoustic characteristics of rooms, which contribute to phase and frequency deficiencies in sound reproduction. The use of Digital Room Correction Systems (DRC) is the best possible option for complementing and enhancing sound reproduction quality in already treated rooms. References: URL https://www.sonarworks.com/ URL https://www.ikmultimedia.com/products/arcstudio/ URL https://www.trinnov.com/en/products/nova/
Contemporary trends in the development of Chinese opera art
This article examines some of the main directions in the development of Chinese opera in contemporary conditions, highlighting the most pressing issues to be addressed. On this basis, the article offers specific suggestions, divided into several groups and relating to government policy in general, the training of personnel in universities and schools of arts, and the operation of opera houses. All of them are driven by several circumstances: the search for high artistic output, the preservation of what is national, promotion nationally and internationally, and the continued establishment of the authority of Chinese opera. Literature: Cai, 2012: Cai Wu. Comprehensively promoting the prosperity of Chinese opera art. China Culture News, 2012. Li, 2019: Li Wei. Examination of the Chineseisation process of American vocal singing in the perspective of Chinese opera history. Nanjing Arts Institute, 2019. Long, Deng, 2022: Long Yajun, Deng Yingzhuo. Evolutionary history and developmental progression of Chinese opera. Hunan Social Science, 2022. Man, 2022: Man Xinying. The birth of Chinese opera. Xiamen University, 2006. Zhang, 2020: Zhang Minmin. Analysis and Reflection on the Development Status of Contemporary Chinese National Opera. Northern Music, 2020.
The resistance to classical music of new generations can be overcome by using the innovative potential of music education institutions in the formation of musical taste. Innovations in music education most effectively avoid conservatism masquerading as tradition. The review of some main authors helps to outline the circle of the main agents of musical education with a direct influence on the perception of classical music. Their innovation potential can be defined as fundamental in this context. These are the Institutions of higher musical education, Music creators (composers and performers), the State with its cultural policy, the Institutions of secondary education, the Family, Specific institutions, the Market and Society with its culture. Technology makes it possible for them to find opportunities to move from “educational pressure” to an effective approach to teaching in this direction in a number of ways. The success of this approach contributes to bringing the sound of the orchestra and the complex polyphonic line of classical music closer to different audiences and, in turn, contributes to the modernity of the tradition preserved in the new age of high technology and artificial intelligence as a new social reality. Sources: Bizhkov, Kraevski 1999: Bizhkov, G., Kraevski, V. Metodologia i metodi na pedagogicheskite izsledvania, UI „Sv. Kl. Ohridski“ Todorova 2014: Todorova, M. Klopkata na izostavaneto: modernost, temporalnost i iztochnoevropeyskiyat natsionalizam – V: Liberalen pregled https://www.librev.com/index.php/prospects/science/2295-2014-01-27-13-43-30 Karaatanasov 2016: Karaatanasov, V. Metodicheski praktiki v obuchenieto po kompyutaren notopis i prilozhna orkestratsia. Avtoreferat. Bennett 2008: Bennett, D. Understanding the classical music profession: The past, the present and strategies for the Future. Routledge. European Commission 2014: Horizon 2020 in brief. European Union. https://op.europa.eu/en/publication-detail/-/publication/ff01eb01-755b-4401-95be-6a10701c6d28 European Commission 2021: Creative Europe 2021–2027. European Union. https://ec.europa.eu/culture/sites/default/files/2021-06/creative-europe-2021-2027-brochure-web.pdf Frith 2011: Frith, S. Creativity as a social fact. In D. Hargreaves, D. Miell In: R. MacDonald (Ed.), Musical imaginations: Multidiscipliniary perspectives on creativity, performance, and perception (pp. 62–72). Oxford University Press. Lawrence, Buchanan 2017: Lawrence, T. B., Buchanan, S. Power, institutions and organizations. – In: R. Greenwood, C. Oliver, T. B. Lawrence, R. E. Myer (Eds.), The SAGE handbook of organizational institutionalism (pp. 477–506). Sage. O’Neill 2019: O’Neill, S. Developing leadership capacities with generation Z students in higher music education. – In: D. Bennett, J. Rowley & P. Schmidt (Eds.), Leadership and musician development in higher music education (pp. 87–102). Routledge. Rowley, Rowley, Bennett, Dunbar-Hall 2015: J., Bennett, D. & Dunbar-Hall, P. Creative teaching with performing arts students: Developing career creativities through the use of e-Portfolios for career awareness and resilience. – In P. Burnard, E. Haddon (Eds.), Activating diverse musical creativities: Teaching and learning in higher music education (pp. 241–259). Bloomsbury. Schediwy , Loots, Schediwy, Bhansing 2018: L., Loots, E. & Bhansing, P. With their feet on the ground: A quantitative study of music students’ attitudes towards entrepreneurship education. Journal of Education and Work, 31(7–8), 611–627. https://doi.org/10.1080/136390.80.2018.1562160 Ski-Berg 2022: Ski-Berg, Veronica. Between innovation and tradition: The balancing act of the ‘protean’ music student. Norwegian Academy of Music, Norway. URL: https://nrme.no/index.php/nrme/article/view/3699/8054 Schumpeter 1934: Schumpeter, Joseph. The theory of economic development. Harvard University Press. Sogner 2018: Sogner, K. Creativity, innovation, and the production of wealth. – In E. Heath, B. Kaldis. In: A. Marcoux (Eds.), The Routledge companion to business ethics (pp. 326– 342). Routledge. https://fiveelements.dropdowncommunity.com/ https://bnr.bg/horizont/post/101218799/drop-down-community-ot-klasikata-do-nai-modernite-techenia-v-muzikata-i-obratno.
The juvenile operetta „The golden maiden“ by maestro Georgi Atanasov – between past and future
Maestro Georgi Atanasov is recognized as the founder of Bulgarian music and stage art. His operas have been staged or performed in concert, albeit insufficiently; musical-aesthetic and theoretical assessments of them have evolved over the decades. But the Maestro's children's and adolescent operettas of great musical, educational, and educational value, presented with success between 1910 and 1935 by Dimo Boychev and his Children's Musical Bands, have been gradually forgotten since the 1930s and exist only as manuscripts in state archival holdings. Building on what has already been published about them, this paper seeks to be more specific in its musical and dramaturgical analysis of the juvenile operetta "The Golden Girl". An attempt at a contemporary evaluation of the composition is linked to ideas about its present and future return to the stage, in school and after-school activities at the middle and upper school levels, and in the activities of the new private music centers and formations. Cited literature: Arnaudova 2005: Arnaudova, Boyanka. Balgarskata opera – mit I modernost. Sofiya: “Polis”. Biks 1988: Biks, Rozaliya. Na opera v stara Sofiya. Sofiya: UI “Sv. Kliment Ohridski”, Prof. Marin Drinov Publishing House of BAS. Biks 1988: Biks, Rozaliya. Po sledite na zabravata. Georgi Atanasov-Maestroto. – In: Bulgarian Music, XXXIX, 1988, №9, 4. Boychev 1931: Boychev, Dimo. Pismo ot Tsarigrad. Maestro G. Atanasov I detsata. – In: Zname. № 14, 21. 01. 1931. Dimitrova 2023: Dimitrova, Ralitsa. Integrative Links in Music Education. Sofia: Wess Music. Dimitrov 1931a: Dimitrov, Vasil. Maestro Atanasov I negovite detski operetki. – In: Muzikalen zhivot, № 11, 25. 01. 1931. Dimitrov 1931b: Dimitrov, Vasil. Detskata muzikalna kitka. – In: Pravda, Sliven, № 657, 09. 04. 1931. Karakostova 2002: Karakostova, Rumyana. Children’s Operetta in Bulgaria. Repertory Catalogue 1906 – 1954. – In: Bulgarian Musicology, №1, 64-92. Katsarova 2017: Katsarova, Radostina. Tvorchestvoto na Maestro Georgi Atanasov v Plovdiv. Rolyata my za razvitie na vokalno-instrumentalnite zhanrove v Plovdiv I regiona. Avtoreferat. Plovdiv: AMDFA “Prof. Asen Diamandiev”. Lukanova 2021: Lukanova, Eliza. Vliyanieto na Ruskata baletna shkola za razvitieto na baletnoto izkustvo v Balgariya prez XX vek. Plovdiv: AMDFA “Prof. Asen Diamandiev”. Mangova 2020: Mangova, Boryana. The First Bulgarian Children’s Operettas by Panaiot Pipkov – an attempt at a Contemporary Interpretation. – In: Sofia University “St. Kliment Ohridski”. Visual Arts and Music, volum I (2020), 174-188. Mitishev 1912: Mitishev, К. “The Ill Teacher”/“Bolniyat uchitel” (The Children’s Operetta by m-ro G. Atanasov, dedicated to the Bulgarian National Teacher). – In: “Den”, 28. 02. 1912. Palicarov 2017: Palicarov, Grigor. Creative Discoveries, Analogies and Innovations in the Opera “Kosara” by Maestro Georgi Atanasov. Reflections Based on Personal Experience in Conducting This Work. – In: Almanac. Year 8 (2016). Sofiya: National Academy of Music “Professor Pancho Vladigerov”, 241-252. Palieva 2009: Palieva, Anda. HOMO MUSICUS between Europe and the Balkans. Sofiya: Mars. Sagaev 1960: Sagaev, Lyubomir. Maestro Georgi Atanasov. Sofiya: Nauka I izkustvo. Simeonov 1923: Simeonov, Trayko. Zlatnoto momiche. Detsko-yunosheska operetta v tri stseni I edna cartina. Sofiya: “Gladston”. Valchinova-Chendova 2003: Valchinova-Chendova, Elisaveta. Encyclopaedia of Bulgarian composers. Sofia: Union of Bulgarian Composers. Vladova 2007: Vladova, Mariana. Maestro Georgi Atanasov 1882-1931. Biobibliografiya. Pazardzhik: Belloprint.
the Children’s and the Juvenile Operetta
La plupart des élèves de piano n'ont de la musique qu'une approche parcellisée, marquée par quelques œuvres phares. Ils concrétisent mal la notion globale de « langage musical ». Ils ne réalisent pas toujours que la musique est une vraie langue construite par l'homme avec le rythme et le son, dans l'objet de communiquer tout ce qu'il y a au-delà des mots. Comme toute langue, elle répond à une logique structurelle et connaît une évolution historique. Le traitement de l'instrument, lui aussi, a évolué. Ainsi le piano devient, pour le compositeur contemporain, une véritable « scène sonore » sur laquelle il appelle à coexister notes et masses sonores pour conquérir, par de nouvelles sonorités, sa liberté d'expression. Les élèves, sans repère clair, ne comprennent pas la logique interne de cette évolution. Lorsqu'ils sont confrontés à la musique contemporaine, ils ont la tendance à la considérer comme loufoque ou dérangeante. La présentation des textes s'appuie sur l'évolution historique du langage musical. Ainsi chaque titre (images ou scènes de la vie quotidienne) est développé de trois manières différentes, évoquant trois époques musicales avec leurs caractéristiques en structure, en sonorité et en écriture (l'époque Classique-Romantique, le début de l'atonalité et contemporaine). De cette façon, la « Méthode Piano 1, 2 et 3 » veut permettre aux élèves d'apprivoiser l'écriture musicale contemporaine et de comprendre la façon de la jouer au piano.
Opportunities and prospects in the field of music for people with visual impairments
The paper offers a picture of the opportunities for music education and musical career for the visually impaired. A study was made in two higher schools in Bulgaria (in Sofia) about the number of visually impaired students taught in music majors in the last 10 years. An attempt was made to follow the musical career of these students, as well as of other blind persons in Bulgaria, with the aim of establishing to what extent they have realization in the musical profession. References: Korolensko, V. Slepiyat muzikant, Sofia: izd. Hermes, 2022 Papadaki, М., Tzvetkova-Arsova, M. Social attitudes and beliefs of sighted people towards blindness and blind persons, Specijalna Edukacija i Rehabilitacija (Journal of Special Education and Rehabilitation), 2013, Beograd, Serbia, vol. 12, 4, 481–499. Wagner-Lampl, A., Oliver, G. Folklore of Blindness, 1994, JVIB, Volume 88, Issue 3, 267–276. https://bg.wikipedia.org/wiki/Владислав_Кацарски https://chrisgrigorov.com/blog/lichno-za-muzikata-s-dimitar-zahariev-mitaka-power-chast-i/ https://chrisgrigorov.com https://www.marica.bg/lajfstajl/duet-ot-slepi-muzikanti-izvadi-nov-denshit Blind musicians - Wikipedia
This article summarizes a few ideas shared during lectures delivered at the Chinese University of Hong Kong Shenzhen and the Academy of Music at Hong Kong Baptist University in March 2024. Although there are existing publications focusing on my research in China and other projects as a composer working within the field of contemporary music composition, this focuses primarily on my musical output and research since coming to Germany five years ago, exploring contemporary poetry as a source of abstract musical thought. This brief explanation thus focuses on the technical and notational solutions which I have developed through interacting with poetry recitation, transcription and their derived parameters, as well as my goals behind this approach. I will first provide some general context, before moving on to musical strategies used in recent compositions based on texts by the Chinese poet Ruan Xuefang and the Iraqi poet Nadeem Al-Aloosi. Parallel to my time in China researching traditional music (ca. 2015-2019), I began to read contemporary poetry as a means of improving my Mandarin and broadening my understanding of modern China. It was in this way that I first encountered the work of Zheng Xiaoqiong: first, in translation, and, eventually, in the original. By 2017, we were in touch over WeChat, and, in 2018, she invited me to Guangdong Province to exchange for several days with other writers in the region. It was during this trip that I also became acquainted with the Shenzhen based Chaozhou dialect poet Ruan Xuefang.
History of the Music major from its inception to the present day. References: 1. SU „Sv. Kliment Ohridski – Universitetski arhiv (f29 op1 a.e.29; f29 op1 a.e.40; f29 op1 a.e 57; f29 op1 a.e.69; f29 op1 a.e.132; f29 op1 a.e.151; f29 op19 a.e.18; f29 op2 a.e.32) 2. Istoria na Sofiyski universitet „Kliment Ohridski“, Universitetsko izdatelstvo “Kliment Ohridski“, S ., 1988 3. Koleva, Ilonka. Almanah na rakovodnite dlazhnosti na SU „Sv. Kliment Ohridski“, Universitetsko izdatelstvo, Sofia, 2018. 4. Podgotovka i kvalifikatsia na pedagogicheskite kadri s visshe obrazovanie. Deset godini Fakultet po nachalna i preduchilishtna pedagogika, sbornik, red. Violeta Borisova, S., 1994.
ПРЕВОДНИ ПЕСНИ – ВЪЗНИКВАНЕ, ФУНКЦИИ И РАЗПРОСТРАНЕНИЕ
The research article, titled “Translated songs – emergence, functions and spread”, examines one of the phenomena that began to take shape as an aftermath of the evolution of the music industry. The article explores the development of technologies related to the distribution of music, and how they contributed to the performing artist, making him a central figure in the entertainment business.The article also examines the history of cover songs, with them being the predecessor to the so-called “translated songs”. The translated songs themselves are subjected to separate analysis, aiming to explain the reasons for their emergence and existence, both in Bulgaria and the rest of the world. It is also pointed out, at the end of the article, how this topic can be linked to music education at school, in the first high school stage of education.
Copyright (c) 2025 ПЕТЪР ПЕТРОВ https://creativecommons.org/licenses/by/4.0
INNOVATION AND MULTIMEDIA TECHNOLOGY IN MUSIC EDUCATION
The introduction substantiates the significance and relevance of the problem, defines the object, subject, goal, tasks and hypothesis of the research. The methods, indicators and scope of the study are presented. The main concepts used in the development are clarified.
multimedia, music, education, graphics, animation, sound, animations
Copyright (c) 2025 Огнян Иванов https://creativecommons.org/licenses/by/4.0
CHROME MUSIC LAB В РАБОТАТА НА МУЗИКАЛНИЯ ПЕДАГОГ
Digital technologies enter quickly and dynamically in all spheres of life, which logically confronts music educators in general education schools with the important and difficult task of provoking interest and creating a positive attitude towards music as an art that forms aesthetic taste and builds students’ creative attitude to learning process and the world around them. The skillful and adequate selection of digital technologies is one of the key competences that the music teacher must develop and use in teaching so that students who have differently developed musical hearing can acquire lasting knowledge and skills. The Chrome Music Lab website is a free and fun tool with a very attractive interface that can work on any device regardless of operating system as long as it has a browser and is very easy to use, making it an invaluable aid to the music educator.
Copyright (c) 2025 Костадин Ланджов https://creativecommons.org/licenses/by/4.0
ARTIFICIAL VS NATURAL INTELLIGENCE IN MUSICAL ART
Music is an abstract art that transcends boundaries and cannot be defined by time or limits. It creates a world of its own, existing between the outlines of order and chaos. The f lawless delineation of the world and the order of things can no longer be captured by a single theorem or conclusion. Music is a gateway to an infinite world where the golden ratio defines the dimensions of the infinite values that music encompasses .
music; natural and artificial intelligence; art; algorithm
Copyright (c) 2025 Галина Пенчева https://creativecommons.org/licenses/by/4.0
PROCESS OF CREATION, RECORDING, PROCESSING OF THE MUSIC ALBUM WITH ORIGINAL SONGS AND COVERS OF STUDENT MUSICAL ENSEMBLE LINGUACCORD
The article describes the process of creating the first studio album of the student musical ensemble Linguaccord from the Sofia University „St Kliment Ohridski“ from the emergence of the idea for the project to its implementation. All the organizational and creative processes are followed, namely - creation, translation and adaptation of lyrics, composing and arranging - independently and in a team. There is also an overview of the work on the songs themselves – recording, sound processing and CD release.
studio album, creative process, sound recording, student musical ensemble
Copyright (c) 2025 Вълчан Вълчанов https://creativecommons.org/licenses/by/4.0
INOVATIONS AND TRADITIONS IN MUSIC EDUCATION
Music lessons are where students form their basic ideas about different types of music. Today, this concept encompasses authentic, traditional, compositional, and modern software music creation. The teacher has the opportunity and responsibility to present modern students with authentic folk music. This task presents a challenge as some participants are unfamiliar with the sound of this type of music, whether it is in equal or unequal proportions, and so on.
Copyright (c) 2025 Валя Иванова https://creativecommons.org/licenses/by/4.0