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From countercultural resistance to world music craze, Balkan music captured the attention of global audiences. Balkanology, the 1991 quintessential album of Bulgarian music, highlights this moment of unbridled creativity. Seasoned musicians all over the world are still in awe of the technical abilities of the musicians in Ansambl Trakia-their complex additive rhythms, breakneck speeds, stunning improvisations, dense ornamentation, chromatic passages, and innovative modulations. Bridging folk, jazz, and rock sensibilities, Trakia's music has set the standard for Bulgarian music until today, and its members, especially Ivo Papazov, are revered stars at home and abroad. The album reveals how Romani (Gypsy) artists resisted the state's prohibition against Romani music and fashioned a genre that became a youth movement in Bulgaria, and then a world music phenomenon. Balkanology underscores the political, economic and social roles of music during socialism and postsocialism.
Few states have fought as hard or as long to be established as that of the Republic of Bulgaria. The Bulgarians have over the centuries created their own principalities, kingdoms, and republics only to have them crushed by stronger entities, including the Byzantine and Ottoman Empires. While recently, the communist regime was largely dominated by and overly submissive to the Soviet Union. Fortunately, about 15 years ago, a new republic arose, which began revamping the economy, reviving the political life, and forging a new place in Europe. The A to Z of Bulgaria contains more than 600 cross-referenced entries on Bulgarian historical periods, places, terms, organizations, events, and personalities. The number of entries, dealing with historical figures and events, has been considerably enlarged, and all of the entries of the first edition that have remained were carefully updated. The newest insights of Bulgarian historiography as practiced in Bulgaria and abroad are also reflected. In addition, the book includes a brief introduction into Bulgarian history from the earliest times until mid-2005 (including the formation of the current cabinet), an easy-reference chronology of Bulgarian history, several maps, and lists of Bulgarian political parties, administrations, and leaders. A comprehensive bibliography is included to facilitate further reading on Bulgaria and Bulgarian history.
This second edition of Historical Dictionary of Bulgaria contains more than 600 cross-referenced entries on Bulgarian historical periods, places, terms, organizations, events, and personalities. The number of entries dealing with historical figures and events has increased and all of the first edition entries are updated. The newest insights of Bulgarian historiography, as practiced in Bulgaria and abroad, are also reflected. In addition, the book includes a brief introduction to Bulgarian history from the earliest times through 2005 (including the formation of the cabinet); a chronology of Bulgarian history; lists of Bulgarian political parties, administrations, and leaders; and several maps. A comprehensive bibliography facilitates further reading.
Now that the political and economic plight of European Roma and the popularity of their music are objects of international attention, Romani Routes provides a timely and insightful view into Romani communities both in their home countries and in the diaspora. Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, as author Carol Silverman notes, Roma are revered as musicians and reviled as people. In this book, Silverman introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, her book examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Silverman touches on the way that the Roma exemplify many qualities -- adaptability, cultural hybridity, transnationalism--that are taken to characterize late modern experience. And rather than just celebrating these qualities, she presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives.
Among the features that make Noiseless Steganography: The Key to Covert Communications a first of its kind: The first to comprehensively cover Linguistic SteganographyThe first to comprehensively cover Graph SteganographyThe first to comprehensively cover Game SteganographyAlthough the goal of steganography is to prevent adversaries from suspe
In this vivid musical ethnography, Timothy Rice documents and interprets the history of folk music, song, and dance in Bulgaria over a seventy-year period of dramatic change. From 1920 to 1989, Bulgaria changed from a nearly medieval village society to a Stalinist planned industrial economy to a chaotic mix of capitalist and socialist markets and cultures. In the context of this history, Rice brings Bulgarian folk music to life by focusing on the biography of the Varimezov family, including the musician Kostadin and his wife Todora, a singer. Combining interviews with his own experiences of learning how to play, sing and dance Bulgarian folk music, Rice presents one of the most detailed accounts of traditional, aural learning processes in the ethnomusicological literature. Using a combination of traditionally dichotomous musicological and ethnographic approaches, Rice tells the story of how individual musicians learned their tradition, how they lived it during the pre-Communist era of family farming, how the tradition changed with industrialization brought under Communism, and finally, how it flourished and evolved in the recent, unstable political climate. This work—complete with a compact disc and numerous illustrations and musical examples—contributes not only to ethnomusicological theory and method, but also to our understanding of Slavic folklore, Eastern European anthropology, and cultural processes in Socialist states.
The combination of new insights into Ligeti by people who knew him with new analytical approaches will make this a core publication not only for Ligeti scholars, but also for readers interested in post-war music history and in Hungarian culture. Shortlisted for the RPS Music Award 2012 for Creative Communication. György Ligeti: Of Foreign Lands and Strange Sounds offers a new assessment of a composer whose constant exploration of new sound worlds- based on the musics of different cultures and ages - contributed in crucial ways to making him one of the most important musical voices of the last 50 years. The book combines texts by former students, colleagues and friends, who reflect on different and so far unknown aspects of Ligeti's persona, with new musicological interpretations of his style and several of his main works. Among the contributors are some of the most eminent Ligeti scholars, including Richard Steinitz and Paul Griffiths. Louise Duchesneau, Ligeti's assistant of over 20 years, acts not only as contributor but also as co-editor of the volume. Many of the musicological chapters are based on studies of Ligeti's sketches, which are now housed by the Paul Sacher Foundation in Basle and were made available for research only recently. Two close collaborators representing disciplines which deeply interested Ligeti - Heinz-Otto Peitgen (a mathematician who introduced Ligeti to fractal geometry, which influenced many if his works since 1985) and Simha Arom (an ethnomusicologist who acquainted Ligeti with the complex rhythmic patters of the music of Sub-saharan Africa) - also reflect on the composer for the very first time in writing. The combination of new insights into Ligeti by people who knew him with new analytical approaches will make this a core publication not only for Ligeti scholars, but also for readers interested in music of the second half of the twentieth century and in Hungarian culture. WOLFGANG MARX is Lecturer in Music, University College Dublin. LOUISE DUCHESNEAU was Ligeti's assistant for 20 years Contributors: SIMHA AROM, JONATHAN W. BERNARD, CIARÁN CRILLY, LOUISE DUCHESNEAU, BENJAMIN DWYER, TIBORC FAZEKAS, PAUL GRIFFITHS, ILDIKÓ MÁNDI-FAZEKAS, WOLFGANG MARX, HEINZ-OTTO PEITGEN, FRIEDEMANN SALLIS, WOLFGANG-ANDREAS SCHULTZ, MANFRED STAHNKE, RICHARD STEINITZ