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Traits of Bulgarian folk music p.414

Article · January 2013

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Professor of Music Education, Complutense University of Madrid, Spain

TRAITS OF BULGARIAN FOLK MUSIC

Summary
Bulgarian folk music is recognized internationally and the "Bulgarian Voices" are
fascinating world allover. This is one of the few South Eastern European countries that has
preserved, researched and written musical folklore, considering it to be a national treasure. After a
brief review of some of the most significant ethnic investigations of music in Bulgaria, in this article
we focus on the traits of popular music in the different folk regions of Bulgaria, caused by different
traditions, beliefs, customs, lifestyles and phonetic pronunciation resulting in different forms of
expressive culture. There we present the results of an investigation whose purpose was to describe
the traits such as: how to sing, the subject matter of the songs, regular and irregular meters
commonly used in the melodies, typical instruments, dances, customs and rituals.

Keywords: Music, folk regions, Bulgarian folklore

Introduction
The word "folklore" was first used in 1846 by English archaeologist William John Tohms,
under the pseudonym A. Merton, as a concept that embraces the traditions, beliefs, knowledge and
customs transmitted orally. The word comes from English: folk - people, and lore-knowledge.
Folklore is the artistic culture, the collective art of a nation because it is a part, a component
and a result of their daily activities.
Folklore as an expression of national consciousness is a socio-historical phenomenon and
also a specific form of people's aesthetic relationship with reality [6].
The music of folklore expresses the aesthetic tastes of the social environment in which its
popular creators live. To a large extent, Bulgarian folk music is characterized by a high artistic
quality.
Bulgaria is one of the few European countries that has preserved, researched and written
musical folklore, considering it to be a national treasure.
Brief historical review
In Bulgaria, the interest in folk music appeared in the first half of the nineteenth century. In
the beginning it was to record the popular Bulgarian song texts. It was assisted by distinguished
educators and public figures, such as Vasil Aprilov, Petko Slaveikov, Georgi Rakovski and others.
Later publications and also individual songs or songbooks with the texts of the songs were
published: "BulgariaFolk Songs" Dimitar and Konstantin Miladinovi (1861).
The main features of the meters and beats, as well as other issues were discovered in the
writings of Dobri Hristov - "Basic rhythms of popular music" (1913) and "Technical structure of
Bulgarian folk music" (1928). These works serve as the basis for all subsequent studies and have
great importance for the development of the Bulgarian folklore. [5:135]
Among the major research-intensive Bulgarian folklorists is Vasil Stoin that collects 4076
vocal and instrumental melodies in his collection "Traditional Songs from Timok to Vit" in 1928.
Stoyan Djudjev continues the work of Dobri Hritstov and Vasil Stoin. His extensive knowledge of
music theory, ethnography and folklore, result in a wide range of theoretical and scientific advances
in the organization of the meters and the fundamentals of melodies of the Bulgarian folklore. This is
clearly demonstrated by several books/articles which he has written between 1929 ("Words and
music in our popular song"), to 1971 ("Primary forms of recitative in the Bulgarian
folklore").”Djudjev significantly expands on the problems in the research of Bulgarian musical

©© Iotova A.I., 2013 г.

folklore and created an accurate scientific theory which serves as a base to carry out research into
the existence and development of folklore" [6:268].
Nikolai Kaufman is another very important folklorists especially for his investigations of the
popular songs in the regions of Pirin and Rodopi, which reflects in his work "Folk Songs of Madan
and Smolian" in 1960.
General features of the Bulgarian musical folklore
In the organization of the rhythmic meter most of the melodies are binary meters, but also
filled with irregular meters such as 5,7,8,9,10,11,12,13 and 14. Of note is the massive presence of
examples of songs without an established rhythm, where the regular pulsation of strong and weak
beats is absent. These songs highlight the improvisational talent of the singers.
Most Bulgarian folklore tunes are monodic. The two voice songs have characteristics which
are very specific in some areas such as Central West and Pirin.
Musical modes are varied and are based on four main types: diatonic, chromatic,
enharmonic and pentatonic. Each mode has a different influence and acceptance in each region.
The folk dances are quite diverse in types and forms of dance. This is especially noticeable
in Central West, North and part of Thrace.
The most representative Bulgarian folk instruments are kaval, svirka, duduk, dvoianka,
bagpipes, zurna, gadulka, tamboura and drum. They are used on different occasions to accompany
dances, meals, or in some popular rituals.
Bulgaria is divided into several folkloric regions, characterized by the different working
conditions, originating from different traditions, beliefs, customs, lifestyles and phonetic
pronunciation [8:51]. In these areas or regions the existence of intermediate areas influenced by the
surrounding regions and the changes that have occurred as a result of migration of people from
place to place to another should not be ignored. There are several different theories about the
number of folkloric regions which exist. According to leading researcher Litova-Nikolova [6] 7
regions are recognized: Pirin, Central West, Rodopi, Thrace, North West, North Centre and North
Este and Dobrudja. We will use the division into 6 regions: in which together we describe the part
of North West and North centre together because they have common characteristics. Furthermore,
this division is the most popular according to some 5th and 6th grade music books. (Fig.1)

Figure 1. Map of folklore regions of Bulgaria

Pirin Folk Region

 The boundaries of this region are: River Struma (Blagoevgrad, Sandanski, Petrich), river
Mesta (Razlog, Bansko, Gotzedelchevsko) and length of the western part of the Rhodope
mountains.
The Pirin region is dominated by a two voice songs (about 70% of the songs)[6].
Most often women are the singers who interpret the songs: one the sings with a high pitched
voice whilst two or more interpret the second voice. The joining of the two voices occurs
frequently and there is a tendency to sing the second musical interval [4].

In this region there are no slow songs rich in adornments characteristics of the regions of
Rodopi, Thrace and Dobrudja. Here the slow songs are filled with a kind of hiccup and trembling
voice jumping to eighth or at times seventh interval normally at the end of the phrase or the middle
of the word with a short and sharp "e". The song is sung from the chest.
In the region of Pirin songs of different themes can be encountered. One of the most beloved
songs is about the work activities that are sung in the morning, at lunch, during breaks or after
returning from the field. The songs of social gatherings "sedenkarskite" are very popular. Although
in many places, the dance is more typically accompanied by instrumental music, the songs here
accompany the dances and lively melodies with interesting content. The most common rhythums in
this region are 2/4, 7/16 (rychenica) and 9/16. Wit and humor emanate from these wonderful songs,
which were heard in the past in town squares and parties. Especially typical is the rhythm of 7/16 (3
+2 +2) which we, can observe in the most popular songs such as "Makedonsko devoiche", "Liliano
Mome, Liliano", "Zashumete died in Pirin", "Devoiche belo, tserveno" and many others.

While women are the ones who mainly sing in two voices in Pirin, the instruments are
mostly played by men. The most typical instruments are the “high” bagpipes, called "Jura" and the
tambura, as well as tupan and dvoianka.
The dances of the region of Pirin are diverse and are divided into male and female. The
female dances are often accompanied by singing and are rather moderate. They dance in a circle,
semicircle or a straight row. The dances for men have a faster pace due to the instrumental
accompaniment.
Central West Folkloric Region
This region is located between Pirin and Stara Planina, to the west is Serbia and to the east
you gradually reach the Thrace region. It includes Shopluka (Sofia, Slivnitza, Svoge, Samokov,
Stanke Dimitrov, Radomir), Graovo (Pernik, Brznik) and west parts of Godechko, Transko,
Kiustendilsko [4:20].
The character, language, temperament, and their folk customs, distinguish the population of
this adjoining region. Their music is very different from Thrace. With their prankster nature and hot
temper, their songs are full of wit.
 Especially characteristic of Central West Shopluka is the song in two voices in a very small
ambit with second parallels. Usually one singer deals with the first voice, the other is sung by two
or more women. The second voice is usually immobile on the first degree of the mode, sometimes
down to the seventh grade to avoid unison the first voice lowers to first grade. Thus the feeling of a
second vertical organization is maintained [6].
These songs covering all genres: old "sedenkarski" round the table songs, songs that
accompany the labors of the harvest. They can be of one or two voices. Monodic songs are more
hectic and joyful, often with a shout at the end of the phrases. In the song, whose theme is the work
of wheat in the fields, used a decorative effect, a kind of trembling throat that fragments notes into
small durations, typical of this folklore region.
The songs for two voices are interpreted only by women who sing openly, loudly and with
sharp tones.
The uneven bars are encountered in songs with different themes. Their diversity increases as
we move towards Pazardzhik, Ihtiman and Sredna gora.
An important part of the songs, sung in the chores of cultivating wheat and weddings are not
as regular (without measure).
The dance of the "Shopi" is light, lively, it appears that the feet do not touch the ground.
These dances are usually accompanied with shouts of courage and vigor by the men "ha-a" or "e"
thus putting an emphasis on the complex steps of the dance.
They are many combinations of dances. "Sitno mujko Hunch" in 2/4, "Chetvorno" in 7/16,
"IOVE" in 7/16 +11/16, "Lile, lile" on 9/16, "Dilmano, Dilbero" on 8/16 and many others.
Folklore of the Rodopi Region
This region includes the municipalities of Asenovgrad, Smolyan, Madan, Zlatograd,
Kyrdjali. Velingrad. It has its own tradition and originality.
Monodic songs with a lyrical character predominate. The most authentic style is the central
part of Rodopi, where even today popular singing is constantly heard. In the eastern part one can
note the influence of the Thrace region and in the western part the influence of the Pirin region.
In Rodopi men and women alike sing.
In this region one often enconters folk songs in the pentatonic mode, both in the songs of the
Bulgarian Christians, as in the songs of the Bulgarian Muslims. The pentatonic melodies are not the
predominant ones, but as they are not as frecuent as in other regions and are thus considered
characteristic for Rodopi [6:235]
Songs at social gatherings called "sedianki" covering various topics, are typical here but
more typical are those about love, especially sung by young people.
There are still wedding songs from the recent past which have had a special place in the
ritual of weddings.
Many popular songs are related to the going away and the return of seasonal work (called
"gurmet"). The men left their homes in the winters to seek work further south. These songs are
poetic and strongly connected to sentimental issues, reflecting the sadness of men forced to seek
work far from home.
One of the most typical issues of the region of Rodopi has to do with the main subsistence
work: grazing.
Two of the most famous songs are "Bela bela iunache sym" and "Izlel and Deliu haidutin".
 Songs without meters often coexist with others with meters of 2/8, 3/4, 5/4, 5/8, 7/8 and 9/8
very common here.
Musical instruments that resonate in Rhodopi is the base bagpipes, the tambura and kaval.
The most common instrument of this region is base bagpipe, called "kaba", characterized by being
larger than the "Jura" and emits a, long low and dull sound.
In Velingrad and the village of Nedelino two voice songs are sung, but it is an entirely
isolated case within this folklore region.
In Rodopi it is typical to dance to songs, as well as instrumental music, in which men and
women form separate circles or semicircles. The men dance more freely and with large steps, while
women make a closed circle, very close to each other.
Trakia Folklore Region
The Thrace region is found in the plains of the same name. It is surrounded by the Pirin,
Rodopi, Sredna Gora and Stara Planina mountains. If one heads eastwards one reaches the Black
Sea. This area includes the eastern part of Pazardjik and includes many villages in the eastern part
of Rodopi. The Thrace region includes an interesting sone colled Strandja, which some folklorists
consider a region on its own and consider it separated from Thrace.
The Thrace style of song has largely influenced many of the northern regions, especially
Dobrudja. This is because after independence in 1878, many people emmigrated to the north.
In Trakia monodic singing is characteristic, slow songs and many adornments. Women,
preferably sing in an open and natural way. The melodies are beautiful, expressive and peaceful.
The most common meter is 2/4, plus plenty of songs without meters, with free rhythm.
Thraces songs are distinguished by their thematic richness: there are songs to gather the
wheat, for meetings, for the meal table, rituals, dances on fire in Strndja, for weddings, for
masquerades, epics.
The most characteristic instruments are the kaval, bagpipe, gadulka and tapan.
The kaval is an indispensable companion of peasants in Thrace, and influences the melodies
of the songs. Many of the adornments in the slow songs are literally translated from the
instrumental melodies. People say "sings as if kaval were playing."
Strandja belongs to this region, beginning in the Bay of Burgas and extending between the
Black Sea and the Derventski hills to the Turkish village of Strandja. It has its own typical sound in
the songs and dances. One of the most characteristic dances is "nestinari" which is to dance on fire.
It is part of a ritual that purifies the mind, body and human spirit. Other typical games are Kukeri
(with masks) or "Filek" (spring games of the young with small steps to the right, very typical in
other games of the youth in Thrace and Dobrudja).
Northeast folklore Region Dobrudja
Dobrudja occupies the northeastern part of Bulgaria - the north is bounded by the Danube in
the east - the Black Sea and west borders the northern folklore region. This region is characterized
by its rich and varied folklore. This variety was produced when large groups of people migrated
from Trakia and the regions of Stara Planina in the second half of the s. XIX.
In Dobrudja there are two styles - Thracian and Balkandjiiski that were gradually introduced
into the deeper layers of the old traditions. Typical of this region are songs rich in adornments and
without compass to sing while working in the fields collecting wheat, at the table or at social
gatherings called "sedianki". These slow and expressive songs are sung both by women and men.
Monodic singing reigns except for singing in two voices, in some remote villages populated
by immigrants from the region of Shopluka.
As for the modal characteristics of the songs, preference for the diatonic is notable some
color modes are also used.
In Dobrudja there is a specific musical style with the gadulka, kaval and bagpipe
instruments.
The dances have their own style which is characterized by good cheer and flexible
movements of the body, arms and shoulders.
Folklore Region North West and Central
 As well as in the region of Dobrudja folklore, popular music here is also a mixture of the
folklore of other regions due to the migration of many people in different historical moments, the
same as in the regions of Trakia and Dobrudja.
The mixture of the population produces the mixture of musical styles. However, with a
closer study you can find some typical features of musical style such as pentatonic songs not typical
of other regions that are sung at weddings or in the work in the fields.
In these regions there are a large number of irregular beats, although in number, binary
melodies prevail. Bars 5, 7, 9, 11, 13 and 14 are easily found.

Also songs which are not metric and which have abundant adornment are found, usually
with historical content.
The songs are monodic, except in some villages of the Northwest where there is singing in
two voices, like those of the Central West region [4].
The songs are interpreted primarily with instrumental accompaniment of the duduk, kaval
and bagpipe. The dances are varied and are characterized by the richness of mainly light
movements.
By way of conclusion
Bulgarian folklore, besides its great variety and beauty, has the great privilege of having
preserved its freshness to date. Bulgarian folklore is alive thanks to regional festivals and national
meetings. There are over 60 organised every year. Most of the participants are not professional
artists but people who enjoy taking part as amateurs. Children's participation is widespread and
represents the link between the past, the present and the future.
An important factor that contributes to the rise of folk art in Bulgaria, which continues in
present times, is its presence in nursery and primary schools. In education programs at these early
stages, folklore is the raw material of musical lessons [2].

References
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2. Ivanova, A. (2010). La educación musical infantil en Bulgaria y España. Música y Educación, 82 (2010) 78-93.
3. Ivanova, A. (2012). La música folklórica búlgara. Dedica. Revista de educación y humanidades, 3, (2012) 135-
144
4. Кауфман, Н. (1968). Българската многогласна народна песен. София: Музика
5. Кауфман, Н., Българска народна музика. С., 1977.
6. Литова-Николова, Л. (1982). Българска Народна Музика София: Музика.
7. Пелагия В., Минкова.C. (2008). Народната песен в българския музикален фолклор. Научни трудове на
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8. Стоин, E. (1967) Енциклопедия на българската музикална култура. София.
9. Стоин, Е. (1969). Mузикално фолклорни диалекти в България. София: Българска музика.
10. Тодоров, М. (1973). Българските народни музикални инструменти. Том I. София Наука и Изкуство.

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