Bulgarian national mark in music of the 20th – early 21st century

Abstract

The purpose of the article is to identify characteristic textural and rhythmical features of Bulgarian folklore, using as an example Volume VI of BélaBartók‘sMikrokosmospiano pieces and GyörgyLigeti‘sÉtudes pour piano. The methodology of this work is provided by intonation concept of music represented by works of Boris Asafyev‘sfollower in Ukraine, including works by I. Liashevsky[4]. Among the works of Bulgarian music scholars with their basic meth- odological sense, theoretical findings by D.Hristov [8; 9], A. Motsev[5] and Vasil Stoin [7] are worth noting. Scientific novelty: for the first time in Ukraine‘s music studies, certain aspects of the specifics of Bulgaria‘s cultural phenomenon in its historical autonomy and relations vis-à-vis other countries have been highlighted as a supplement to what has been recorded in the specialized literature on the whole. Conclusions. An analysis of these works allowed to highlight common features, such as the use by composers of same-type length groupings, which to a large extent are typical for Bul- garian rhythms; the use of similar techniques of harmonious language, including ―cluster stratification‖ of black and white keys, second-fourth and second-fifth consonances, tertiary parallelisms, seventh chords; the use of the texture type that imitates the principle of sustained drone, with melismatically developed line sounding in the background; the use in these works of groups of five-six pieces having the signs of connection to spatial symmetry; the use of a kind of a play with metro rhythms (symmetry of rhythm formulas in the first piece of the cycle constitutes the basis for group permutations in all others).