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An in-depth study of the Bulgarian harmonic system is long overdue.
More than two decades since the Le Mystere des Voix Bulgares choir
was awarded a Grammy (1990), there is no scholarly study of the
captivating sounds of Bulgarian vertical sonorities. Kalin Kirilov
traces the gradual formation of a unique harmonic system that
developed in three styles of Bulgarian music: village music from
the 1930s to the 1990s, wedding music from the 1970s to 2000, and
choral arrangements (obrabotki) - creations of the socialist period
(1944-1989), popularized by Le Mystere des Voix Bulgares. Kirilov
classifies the different approaches to harmony and situates them in
their historical and cultural contexts, establishing new systems
for analysis. In the process, he introduces a new system for the
categorization of scales. Kirilov argues that the ready-made
concepts that are frequently forced onto Bulgarian music -
'westernization', 'socialist' or 'Middle Eastern influence', are
not only outdated but also too vague to be of use in understanding
the sophisticated modal and harmonic systems found in Bulgarian
music. As an insider who has performed, composed and arranged this
music for 30 years, Kirilov is uniquely qualified to interpret it
for an international audience.
An in-depth study of the Bulgarian harmonic system is long overdue.
More than two decades since the Le Mystere des Voix Bulgares choir
was awarded a Grammy (1990), there is no scholarly study of the
captivating sounds of Bulgarian vertical sonorities. Kalin Kirilov
traces the gradual formation of a unique harmonic system that
developed in three styles of Bulgarian music: village music from
the 1930s to the 1990s, wedding music from the 1970s to 2000, and
choral arrangements (obrabotki) - creations of the socialist period
(1944-1989), popularized by Le Mystere des Voix Bulgares. Kirilov
classifies the different approaches to harmony and situates them in
their historical and cultural contexts, establishing new systems
for analysis. In the process, he introduces a new system for the
categorization of scales. Kirilov argues that the ready-made
concepts that are frequently forced onto Bulgarian music -
'westernization', 'socialist' or 'Middle Eastern influence', are
not only outdated but also too vague to be of use in understanding
the sophisticated modal and harmonic systems found in Bulgarian
music. As an insider who has performed, composed and arranged this
music for 30 years, Kirilov is uniquely qualified to interpret it
for an international audience.
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