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Videos by Krasimira Fileva-Ruseva

Before he learned to play the First Movement of the Moonlight Sonata on piano, my student Damian ... more Before he learned to play the First Movement of the Moonlight Sonata on piano, my student Damian Yordanov and I arranged it for kaval (his first musical instrument) and piano. The aim was for the student to insight more deeply into the character of Beethoven's beautiful musical confession and to understand better the composer's style. The preparation and realization of the video further enriched the stylistic sense and imagination of the young artist. Proof of this is the winning of the Third Prize of our ensemble at the International Moscow Music Competition in the category "Ensembles".

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This video is one of the illustrations of my method for developing and enriching the creative ima... more This video is one of the illustrations of my method for developing and enriching the creative imagination of the learning music performer. My student Damian Yordanov and I created this arrangement by Vivaldi-Bach - Concerto in G Major, in original for oboe and orchestra, reworked by J. S. Bach for solo piano. The aims of the artistic challenge we set for ourselves - our arranging, now for classical and Bulgarian folk musical instruments, the performance in a concert hall and the production - again by me and the student - of a video, are: insight into the expression of the detail, in the emotional sense of timbre decisions; adherence to the stylistic-emotional correspondence with the original in the arrangement and the figurative-emotional correspondence in the video story; construction of the new, already musical-visual image according to the dramaturgical specifics of the musical work.

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Damian Yordanov is a student to whom I teach piano as a second musical instrument. While working ... more Damian Yordanov is a student to whom I teach piano as a second musical instrument. While working on the arrangement of the waltz, its instrumental mastery, the preparation of the script for the video and the realization of the video story itself, Damian insighted deeper into into the style of Chopin and as a folk musician - and in the specifics of performing Western European music, he overcame significant instrumental difficulties. This and our other implemented performance projects have significantly contributed to the development of the young interpreter. As proof of what I have said, I can cite the Third Prize won by our ensemble at the International Moscow Music Competition in the "Ensembles" category. The initial stage of our work on the waltz arrangement is described in my article "Building a style sense and enhancing the style culture by performing piano works on another musical instrument".

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Papers by Krasimira Fileva-Ruseva

TEACHING THE AESTHETIC MEANING OF MUSICAL FORMS, 2021

The pedagogical principle of accessibility states that the information that is taught must be und... more The pedagogical principle of accessibility states that the information that is taught must be understandable by students. It is also known that one denies and rejects what he/she does not understand. Thus, the samples of the world's musical treasury, if not perceived with understanding, will not be loved and sought by modern young people-future users of art. The musical form

INTELLECTUAL DEVELOPMENT THROUGH MISLEADING TASKS IN ELECTRONIC TEXTBOOKS ON MUSIC FOR THE GENERAL EDUCATION SCHOOL IN BULGARIA

This study presents an approach for the development of intellectual qualities in adolescents usin... more This study presents an approach for the development of intellectual qualities in adolescents using various misleading tasks in electronic textbooks on music for 5, 6 and 7 class of the general education school in Bulgaria by Prosveta Plus Publishing House (Mincheva et al., 2016, 2017b, 2018). In order to prove the effectiveness of the considered tasks in terms of the development of intellectual qualities of students, the report analyzes those electronic resources that contain a misleading element and examines the diversity in the construction of misleading tasks.
The analyzes clarify that:
- The mechanism of action of misleading tasks is, through a variety of "tricks" to help logical thinking, problem analysis and concentration of attention of the students;
- The misleading tasks are assigned in the textbooks with various specific aims;
- The common aim of all of them - supporting the intellectual development of adolescents - has been achieved.

THE BAROQUE IN AN EDUCATIONAL KIT ON MUSIC FOR THE GENERAL EDUCATION SCHOOL IN BULGARIA, 2020

The responsibility for building the common culture of the young generation lies not only with the... more The responsibility for building the common culture of the young generation lies not only with the family, but to a very large extent also with the school. For this reason, initially in the textbooks conditions for its formation should be created, which should be added to the set of conditions for the full development of diverse erudite, appreciative and sensitive to the beautiful and valuable in art young people-active users of cultural achievements. This is even more true for textbooks on the disciplines of the aesthetic cycle, including the subject of music. In the printed textbook to the educational kit on music for 7th grade of Prof. Penka Mincheva et al. (Mincheva, P., 2018), which I examine in the present study, the most important, essential-what students must remember-necessary for the creation of a common culture of students, is presented balanced, correct and theoretically sound. Additional information to supplement the knowledge is provided in the book for the teacher. In the notebook for the student are set tasks through which acquired knowledge is tested and consolidate. The electronic textbook to the educational kit contains a large amount of additional information in the form of:-Photo galleries illustrating learning information through a series of impressive images on a specific topic;-Works for listening and elements elements of them, not included in the printed textbook, which complement the sound impressions of the taught musical material and add practical information to the students' stylistic impressions;-Schemes, tables, serving for arrangement, systematization of knowledge, which contributes to the greater usability of the information obtained;-Ideas for composing music, for student projects and competitions of teams, which stimulate both the independent search for information and teamwork;-Many and varied questions and tasks, through which is penetrated deeper in the perceived information, it is viewed from another angle, new connections are created so that the new knowledge becomes more flexible, more easly reproductible, compatible with other forms of knowledge, cohering with information obtained from other disciplines. To justify, it is enough to examine even one separate topic, developed in the printed and electronic textbook to the educational kit (Mincheva, P. 2018)-the topic of the style Baroque, which in this set of teaching aids is related also to the topic of creativity of the two colossi in music-J. S. Bach and G. Fr. Handel. Although polyphony was known long before the appearance of Baroque style, namely in the works of J. S. Bach and G. Fr. Handel, created in the Baroque era, raised it to unattainable heights. For this reason, the acquaintance of the seventh-graders with the musical Baroque is connected with the study of the most characteristic of the polyphonic textural organization. For the same reason, without knowledge of polyphony, the musical Baroque is more difficult to know and understand. In the electronic textbook to the subtopic for the polyphonic texture, there are placed perspicuous graphics of polyphonic approaches for texture construction-iso, canon and imitation, and for greater clearness graphics of two-voiced and three-voiced imitation are offered. Graphics are also offered for comparison of the polyphonic type of texture with its opposite homophonic type of multivoice. There are examined as a sound illustration of the polyphonic approach imitation, separate sound recordings-sound examples of Dux and Comes from Fugue dis moll from Volume I of "Well Tempered Piano" by J. S. Bach. There is placed a large amount of additional information about musical genres in which Baroque authors and composers of more recent times have worked, about tone artists from the Baroque era, tasks through which the acquired knowledge is rationalized and consolidated.

The Seasons in the Music Lesson -A Resourceful Topic for the Acquisition of Musical Means of Expression and the Development of Students' Creative Thinking, 2020

The educational set for the music lesson in Bulgarian school contain a printed edition of the tex... more The educational set for the music lesson in Bulgarian school contain a printed edition of the textbook with the basic information intended for acquisition; a teacher's book which contains additional information on each topic that will be taught and a suggested plan for each lesson; a student's book with supplementary questions and tasks, suitable for both classroom work and homework; a set of CDs with the music for listening and the songs for singing; an electronic textbook, combining the content of the printed edition of the textbook, all musical works for listening and songs for performing, offered with soloists included, and-in a separate file-only the instrumental accompaniment suitable for performing simbeck, as well as many additional questions tasks, project ideas, a variety of illustrative material-videos, additional musical works, diagrams, tables, photos, poems. The availability of the electronic textbook from any device with internet makes it especially up to date in the conditions of distance learning imposed by the pandemic. In the present study, the tasks dedicated to the topic of the seasons from the printed and electronic textbooks of Prosveta publishing house [1-3] are subjected to theoretical analysis. The results of a pedagogical experiment confirmed those of the theoretical analysis, proving significantly higher success rate, higher potential for unconventional thinking and increased interest in music lessons in students of the 2nd, 3rd and 4th grade of general education school after the experimental education.

OPERA, OPERETTA, BALLET, ROCK OPERA AND MUSICAL IN ELECTRONIC MUSIC TEXTBOOKS FOR THE BULGARIAN GENERAL EDUCATION SCHOOL, 2020

The education of erudite and creative thinking young people is one of the tasks of the discipline... more The education of erudite and creative thinking young people is one of the tasks of the disciplines of the aesthetic cycle, among which is the discipline Music. Musical activities-perception, performance and composition of music-provide rich opportunities for provoking children's imagination, forming a creative attitude and need for creation, and building a musical culture in future users of art. In order to realize these opportunities, all the three main musical activities, appropriately distributed in the particular lessons, must be present in the music courses in the general education school. This means that tasks to include these activities in the lessons must be provided in music textbooks. In the printed editions of the textbooks of Mincheva et al. (Mincheva et al. 2018a, Mincheva et al. 2018b) is provided a balanced realization of all three musical activities, and each textbook contains the basic information that students must learn, illustrated in an appropriate way, ideas for applying the musical activities, questions, tasks, illustrations on the topic of the lesson. Separately, in an electronic carrier, the musical examples for each lesson have been provided. The electronic textbook on music is a modern and useful, and given the new conditions and imposed by the circumstances online training-and a necessary version of the textbook, which includes:-The entire educational content of the printed edition of the textbook;-The works for listening and songs for performing assigned to each lesson, placed on the page on which they are to be used;-Additional questions, tasks, suggestions for student projects, schemes, photo galleries, videos. All these additional electronic resources (also featured on the relevant page) are designed to better mastering the learning information, a deeper insight into the character of the sounding music, developing musical abilities, intelligence, creativity, emotional responsiveness of students. In the present study are analyzed the tasks from the electronic textbooks on music for 3rd and 7th grade of the author team led by Prof. Penka Mincheva (Mincheva et al. 2018a, Mincheva et al. 2018b), which relate to opera, operetta, ballet, musical and rock opera. The analyzes are made in order to prove the effectiveness of a set of methods for teaching the musical-stage arts in terms of: a) Mastering the educational information, which (since the subject music is part of the disciplines of the aesthetic cycle) is part of the general culture of young people; b) Encouraging the imagination and creative thinking of students. Among the tasks assigned to students are:-After listening to the musical characteristics of Odette and Prince Siegfried-the main characters of the ballet "Swan Lake", third graders are asked to describe how they imagine Prince Siegfried and the evil magician Rothbart, how they look, what they are wearing and what music in nature should sound when each of the two characters appears. A similar task is to compare Odette and Odile, who are very similar in appearance, but there is a small difference between them. Here, third graders are required to try to imagine what could be the difference that helps to distinguish positive from negative female character. Children are offered to recall the "musical portrait" of Odette and to assess whether the music changes at the moment when the daughter of Rotbart-Odile, appears before the Prince instead of Odette.-A task addressed to 7th graders is to describe how they imagine the stage costume of the main character in Andrew Lloyd Webber's musical "Cats", whether and how she will dance while performing her famous song "Memory", how the stage will be decorated and what lighting is appropriate at this time of the musical. In another electronic resource, seventh-graders are asked to compare images from productions of "Cats" and the rock opera "Jesus Christ-Superstar", indicating whether they find certain characteristic differences in the stage clothing of the characters from the productions of the two works, ie. to find one of the signs by which the two musical stage genres differ from each other.

PERCEPTION OF MUSIC THROUGH TEXTBOOKS FOR 5TH, 6TH AND 7TH GRADE OF THE GENERAL EDUCATION SCHOOL IN BULGARIA, 2020

The main musical activities are three-composing, performing, perception of music. All three are a... more The main musical activities are three-composing, performing, perception of music. All three are applied in music training at the general education school in Bulgaria, each activity having its own role in the education, upbringing and development of young people. The perception of music that is the subject of this study is an accessible and relatively easily practicable activity, and it is important for the development of emotional intelligence, education of aesthetic taste and formation of the general culture of students. However, to the full effect of the implementation of this meaningful activity in teaching in the general education school, the way in which the perception is organized is of great importance. I will analyze the successful examples of the technology of music perception in the general education school, created by Prof. Penka Mincheva and developed in the textbooks in which she is the head of the author collective (a series of textbooks of the Prosveta Plus publishing house). Introducing a new work is preceded by learning its main themes. This is necessary because:-Subsequently, the students are able to detect each new sounding of a theme when acquainting with the whole musical work. The students have no attempt to distinguish the elements of the musical tissue from one another, which makes acquaintance with a new work an ordeal for their hearing. Preliminary learning the themes draws the attention of the trainees, orienting them so that they are able to find themes when listening to the whole work or the intended for perception part.-By learning the themes, students determine their character. This is especially beneficial in getting acquainted with a work in which subjects contrasts in character and is a valuable guide for understanding the musical form.-Learning the themes is memorizing them, and thus, if memorizing is long enough, is added to the general culture of the learners. Subsequently, when a sufficient amount of musical intonation inherent in a particular author garners in the memory of the perceptors, students become accustomed to recognizing not only the particular works but also the "musical utterance"-the style of the composer.-Familiar thematic material helps to uncover the form of the work. The approaches for presenting a musical work are very diverse. These are:-Graphic representation of the musical structure. Both letter designations and depiction through schemes are used. Comparisons are also made with similar musical constructs studied previously;-Comparison. In this approach, students are introduced to two works in one lesson. The course compares biographical information about composers, history of the creation of works, their genres, typical techniques of exposition of musical thought. All learning information is situated in a couple of consecutive pages of the textbook. After these various comparisons, the two works sound;-References to musical pieces previously perceived;-Perception of works of other arts in a similar emotional mood for insight into the emotional content of the work. For this purpose verses, excerpts of prose, paintings are shown, links to dances are made;-Guiding questions and tasks. They are very diverse, but they are always related to directing the students' attention to the sounding musical example, understanding the nature of the artistic image, comprehending the information that is exemplified by the particular musical work.

EASTER IN ELECTRONIC TEXTBOOKS ON MUSIC FOR THE BULGARIAN GENERAL EDUCATION SCHOOL, 2020

Easter one of the two holiest Christian holidays, is revered as a major in Eastern Orthodox Chris... more Easter one of the two holiest Christian holidays, is revered as a major in Eastern Orthodox Christianity (this is one of the main differences with Catholicism, in which Christmas is celebrated in the first place). However, the bright spiritual essence of the holiday is somewhat displaced by the ostentatious celebration, by the formal attendance at church to be noticed there, by the perception of Lent as a diet for weight loss and purification of the body. This utilitarian consumer mentality lies not only in attitude towards Easter, it is much wider, but if you change the attitude towards a major religious holiday, it is a step towards a greater change. For such a change to take place, a change in young people's vision must be approached. One way to do this is to work purposefully at school, starting with the textbooks. The disciplines of the aesthetic cycle, one of which is the discipline Music, through its direct impact on the emotional world of adolescents, can be a valuable helper in this respect.
On the other hand, with the rapid development of communications and the globalist way of thinking, the national specificity is somewhat lost, some traditions are diminished and ceased to be maintained, and the way we perceive and experience these traditions gradually changes. For the preservation of old national traditions, as well as for the education of respect and esteem for these traditions, a support can be sought in the possibilities of the textbooks, as well as for the modern aids developed for them.
Naturally, pedagogical influence exerted in one of the used textbooks, in one of the studied disciplines and for one of topics provided to study is not enough to change public attitudes, but in the textbooks that I will examine in this article those of the author team led by Professor Penka Mincheva (Mincheva at al. 2016a, 2017b, 2018a, 2018b, 2019), publishing house "Prosveta" (3rd and 4th grade) and "Prosveta + ‖(5th 7th grade), this impact is detectable in each of the learning topics. For this reason, I analyze the tasks included in these educational kits. I focus specifically on electronic textbooks, because with the new conditions in the second half of the school year 2019
2020, classes were held online these tools have become highly relevant.
The electronic music textbook is an electronic aid accessible by computer and telephone, combining the printed textbook, the sound files the music for perception and performance placed on the relevant pages, with additional tasks to each topic, helping to comprehend, memorize, apply the learned information. All this makes the electronic textbook very useful in modern forms of learning, online learning and self learning. Electronic resources are all tasks available in the electronic textbook, but not included in the printed version of the textbook, as well as recorded music.
In the music educational course of this author's team the topic of Easter is present from the 2nd grade, and the additional tasks in the electronic textbooks appear from the 3rd grade. Among the tasks created for the topic of Easter are: for 3rd and 4th grade, when children have more intuitive and visual figurative thinking tasks for connecting the name of a holiday with a photo depicting something typical for it; for 4th grade also a light crossword puzzle of holidays and customs; for 5th grade linking the name of a holiday with a ritual action explained in words, inherent in the holiday (some of these actions are fulfilled only in Bulgaria); as well as with a Bulgarian custom accompanying this holiday; tasks questions, raising the topic of the Bulgarian experience of the Easter holiday; for 7th grade photo gallery "Passion Week: in the footsteps of Christ", in which photographs of selected significant places related to the sufferings of Christ are arranged chronologically.

Building a style sense and enhancing the style culture by performing piano works on another musical instrument, 2019

Style culture and style sense are not the only ones, but they are among the basic qualities that ... more Style culture and style sense are not the only ones, but they are among the basic qualities that distinguish a professional music artist from an amateur. While the creation of a style culture is an accumulation of systematic knowledge, an ordered impression of the stylistic features in the works of composers, the specific in conceptual movements, national schools, performers, the style sense is related to the ability to evaluate and decide on the stylistic correctness of the perceived interpretation, as well as creating individual performance concept for a work. This shows that style culture and style sense are of great importance to the music artist and should be given sufficient care for their formation and development in the learning artist.
In my earlier publication (Fileva, 2919), among many other methods, I recommend arranging and performing a piano piece of another musical instrument in order to clarify and enrich the performance concept. In this article, I will examine the possible application of this method to expanding the style culture and deepening the style sense of the learner's interpreter. The different pedagogical aims of applying the method determine the difference in the way the arrangement for another musical instrument is used – when the method is used to create and refine the interpretation of a particular play, work is being done on the piece mastered in the piano, and when it is sought to broaden the performer's horizons and deepen his knowledge of style (of a particular composer, conceptual stream, national school), the plays being arranged are not studied in the piano as well. I developed this method in two variants:
- Arrangement and performance of a piece on a piano-related keyboard instrument;
- Reworking and performing on a solo instrument with piano accompaniment. In this version, the method is particularly suitable for performers whose first instrument is not the piano. The benefits are achieved through:
- Consideration of the capabilities of the instrument for which the piece is arranged. When arranging for a solo instrument and piano, the capabilities of the other instrument - range, sound of the particular registers, marks, specific techniques for tone making - must be taken into account with the individual traits, stylistic features and emotional-logical specificity of the recreated musical image. The decisions made after trying different variants contribute much to refining the artist's style sense.
- Mastery of a musical instrument. By processing and playing works, selected for the specific creative aims, on his main musical instrument, on which he is more proficient than on the piano, the performer will be able to play more works, find more appropriate means of expression (which on his musical instrument he knows even better) and thus, through the more voluminous and better known factual material, to immerse deeper into the specifics of a particular style.
- New timbre. The sounding of the play in a new way and the perception of the sound of the other instrument, as well as the combination of the timbre of this instrument with the timbre of the piano further suggest ideas to the performer.
In some cases, the musical instrument on which the performer is skilful, can not be included in the group of instruments used by the author whose style is considered; be uncharacteristic of the particular style trend; or atypical of the traditions of the examined national school. At first glance, the performance of a play on a musical instrument unconventional to the author's style, for the purpose of building a style sense, seems to be a contradiction. This, however, provides unexpected opportunities, because the sounding on a different from the set of musical instruments considered inherent in a given style, may reveal unsuspected features of the artistic image.

Musical means of expression taught via an electronic textbook for fourth grade of the general education school, 2019

Musical means of expression - this is the language of music, the materialization of the idea of t... more Musical means of expression - this is the language of music, the materialization of the idea of the one who created the particular musical work, the means by which the listeners can reach the author's idea. Knowledge of some musical means of expression, such as harmony and polyphony, requires a long preparation, they are accessible to professionals. Others, such as dynamics (force of sounding), rhythm, metrum, timbre, the main characteristics of the melody, are accessible to any listener who is familiar with their possible meanings. Due to the great importance of the musical means of expression to understand the meaning, the message of the work, they are studied in music classes in the Bulgarian general education school in a form accessible to the age of the students. The music curricula require the teaching musical means of expression each school year. Initially, they are presented in the most elementary form without introducing terms, gradually, with each new school year, knowledge is upgraded and complicated. In this publication, I will present some of the tasks involved in teaching musical means of expression through the electronic textbook for fourth grade at Prosveta Publishing House.
At first tasks are placed for mastering the new information. Such tasks are, for example:
- Horizontal arrangement of dynamic signs, starting from the sign for quietest sounding to the sign for strongest sounding. Graphs of dynamic signs are offered that students to rearrange to the correct order;
- Tasks of calculating durations, such as “at three-quarters size, which groups of note values make one beat?” Of the suggested answers, “a half and two eighths”, “a dotted quarter and three eighths” are true;
- Tasks for arranging of photos of known for the pupils musical instruments in a table by indications: strings, plucked strings, wind instruments, keyboard instruments, percussion instruments; as well as "Bulgarian folk" and "classical".
Later the tasks become more complicated. In another electronic resource the students listen to the piano piece "Bagpipe" by Bulgarian composer Dimitar Nenov, but the title of the piece does not reported. Fourth-graders, answering the following questions: what dynamics prevail in the play; whether a low voice that maintains the same tone sounds and for which Bulgarian folk instrument this is distinctive; in which folk musical instrument the initial tone of the melody is reached with a slight "sliding" in an upward direction; have to guess which Bulgarian folk music instrument is imitated.
In a next task, students are asked to indicate by what musical means of expression - what size, character of melody, character of accompaniment - the characters of a child operetta on the Andersen story "The Brave Lead Soldier" are depicted.
In other electronic resources, students are now required to compose a brief musical description of the characters of the fable "Grig and Ant". At first, students answer questions about what is the nature of each of the two characters - grig is cheerful, irresponsible, lazy, vain, party-goer and a little cheeky, and ant is hardworking, unpretentious, thrifty, even stingy, devoid of compassion. Through successive questions are clarified the appropriate dynamics, timbre, metrum, rhythm and character of the melody to "portray" the characters. Then pupils proceed to composing.

THE COLLECTIONS IN THE MUSIC TEXTBOOKS FOR THE GENERAL EDUCATION SCHOOL IN BULGARIA, 2020

Collection, this is a group of elements/objects, selected by common signs, essential features, fu... more Collection, this is a group of elements/objects, selected by common signs, essential features, function and representing a certain value to the collector. Collections are often created as a particular type of hobby (for example, personal collections of coins, postage stamps, and much more), as a memento (such as collections of certain types of souvenirs from various places visited), in other cases, for ease of practical (private music library of musicians) and cognitive activities (eg collections in nature, ethnographic and history museums). According to the idea of the noted musical pedagogue and theorist Prof. Penka Mincheva, these practices found application in the music lessons in the general education school in Bulgaria, with the purpose of tasks that reinforce certain knowledge, develop qualities and educate the students to appreciate the valuable samples of musical art. To illustrate the effectiveness of the method, I will examine examples from the music educational kits for grades 1-7 of "Prosveta" and "Prosveta +" publishing houses. One of the obvious reasons to include such tasks in the learning process is the more permanent mastering the educational material taught. Thus, the task of creating a collection of objects taught in the lesson enables in the collection to be attracted the objects that contain the most essential, defining features, and others that are similar in insignificant features to be excluded. In this way, the essential characteristics are realized and remembered more reliably, and with the participation of the whole class in the task, the collection becomes even more complete. When creating the collecting tasks included in the printed and electronic textbooks, all elements are carefully considered to closely relate to the topic of the particular training activity, to contribute to the rationalization of the information and the development of qualities in adolescents, the pedagogical impact is purposeful for the sake of optimization, each element of the task is created for a specific purpose. The results achieved through the tasks of collecting offered in the educational kits are:-Short-term, related to the learning of the taught material;-Long-term-related to development of intellectual qualities, enlargement of the common culture, aesthetic taste, education in respect and love for music, improvement of:-Observability;-Ability to relate to another group of objects;-Election ability;-Decision-making ability;-Ability to summarize. All this helps to prepare an erudite and emotionally responsive audience, contributes to the creation and support in students the pursuit of expanding their common culture, and namely the erudite and self-cultivating young generation is one of the main goals of music education.

CLARIFICATION OF PERFORMER’S CONCEPT OF A PIANO WORK BY PERFORMING ON OTHER MUSICAL INSTRUMENTS , 2019

This article discusses a pedagogical approach to elucidate and enrich the performer's vision of a... more This article discusses a pedagogical approach to elucidate and enrich the performer's vision of a piano piece by playing it on another musical instrument whose use is consistent with the character of the work and the professional needs of the learner. The approach is applied to students studying piano as a second instrument. Discussed are two cases of application of the approach in works in varied styles, with varied character and to some extent diverse specific pedagogical purposes.
I taught the piece “Lullaby” by Veselin Stoyanov (one of the Bulgarian composers-classics be-longing to the generation creators of national musical style). At the moment, I had to work on delimita-tion the elements of musical thought through “breaths,” ie. on phrasing. The main instrument the learner plays is kaval (a Bulgarian folk woodwind musical instrument with gentle sound). I thought that by performing the tune on the kaval, moments in which it is appropriate to take a breath, will clari-fy much more easily and naturally. No less important was that, given the timbre characteristics of the folk instruments and the nature of the play – beautiful, gentle, warm, touching melody with finely nuanced accompaniment, it will not “suffer” in an arrangement for kaval and piano, even the use of a new instrument is more likely to suggest new ideas for interpretation. I asked the student to play the soprano melody on the kaval and I accompanied on the piano.
We created the arrangement in real time as we played. When he feels “in his own waters" with well-known timbre and expressive possibilities, the student inspiringly began to “create" his own ver-sion of the melody – changing technic marks, dynamic nuances, shading individual constructions in a new register, adding meaningful accents, agogics, ornaments.
In other classes I prepared a student for a competition of piano performance of works by J. S. Bach and baroque music. The works the student mastered were “Prelude c minor” – No. 3 from “Little Preludes and Fugues” by J. S. Bach and “La Pateline” by F. Couperin. Looking for a timbre resem-bling the original sonority, I offered the young performer to play the two pieces on harpsichord, on which, after repeatedly playing, discussing and solving a series of tasks (described in the article), we prepared the basic look of the interpretation concept for piano performance.
Apart from the concrete benefits of including other musical instruments on enriching the concept of the trained performer for the musical work, there was also a favorable effect to their artistic palette, their musical culture was enriched, they got new ideas for their future work as performers and pedagogues, their motivation was increased.

PERCEPTION OF MUSIC BY HELP OF OTHER ARTS, 2018

It is known that a person perceives most of the information in a visual way. This means that the ... more It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened. This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7-15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7-15], I am examining in this study, by reference to specific examples. The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:-Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;-Education of the style sense, respect, understanding and love to the valuable musical art. Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased. ВЪЗПРИЕМАНЕ НА МУЗИКА С ПОМОЩТА НА ДРУГИ ИЗКУСТВА Красимира Георгиева Филева-Русева Академия за музикално, танцово и изобразително изкуство-Пловдив, България krassyfilleva@abv.bg Резюме: Известно е, че по-голямата част от информацията човек възприема по зрителен път. Това означава, че сетивната култура на зрението е по-богата, по-пълноценно развита в сравнение с тази на другите сетива. Известно е, че човекът като социален индивид ползва ежедневно и развива ефективно вербална комуникация с другите хора. Това означава, че словото с цялата информация, която носи, включително и емоционална, е леко разбираемо от всички, които говорят един и същ език. Двата типа получаване на сигнали са най

NOTE LITERACY OF THE STUDENTS OF 3. GRADE OF THE GENERAL EDUCATION SCHOOL IN BULGARIA BY ELECTRONIC TEXTBOOK, 2018

Note literacy is not invariably necessary for modern man. On the other hand, the note is a more c... more Note literacy is not invariably necessary for modern man. On the other hand, the note is a more complex sign than the letter, because with one note two features (the two most important) of the tone-height and durability-are recorded simultaneously. This particularity of the notation implies that, in order to read a musical text, more effort needs to be done than reading the verbal text, i.e. note literacy as more complicated, is relevant to accelerate the intellectual development of students who master it. According to the curriculum in music, approved by the Ministry of Education and Science in Bulgaria, students are introduced to musical notation in 3. grade. As an example of a good practice for teaching small pupils the notation I will examine the educational kit of the authors P. Mincheva, Kr. Filleva and D. Katsarova, publisher Prosveta [4, 5], focusing mainly on the electronic textbook [5]. Because the so called "rhythmic syllables" are used in the 1st and 2nd grade to represent the time relations, they can now be used as a support for the introduction of the note values. This is done in the printed version of the textbook through the fairy tale of the bear family. Through this fairy tale, the concepts of a whole note, half, quarter, and eighth are introduced. Thus, the names of the note values-the new information-are connected to the known syllables, and at the same time the pupils are also displayed their signs-respective note values. This is followed by appropriate tasks and exercises to consolidate new knowledge. In the electronic book is created a task, in which are inscribed the rhythmic syllables and note values, and the third graders are required to connect the rhythmic syllables with corresponding rhythmic groups written in note values. Tasks are also created with which to consolidate the difference between the two basic concepts: tone duration (length of sounding tone) and note value (recording of this duration). Time signature marking is especially important, so a sufficient number of tasks related to mathematics are dedicated to further clarifying it in the electronic textbook. To educate students' confidence in their knowledge, as well as to reliably learn the educational information, some of these tasks are "misleading." Resources have also been created to clarify the application of repeating signs. After a few lessons, third-grade students get acquainted with another fairy tale-the "Tale of Notes" through which the knowledge of the notes from c 1 to c 2 is gradually taught, i.e. the principle of consistency is respected, and in each subsequent lesson the relationship with the already presented is sought. llustrating is frequently used-the principle of visibility has been also followed, and the display of the new knowledge is based on a wide range of tools. The tasks of the electronic textbook support the learning of the material that has just been taught. Such a purpose has the song of the note "C", the song of "D", the task of defining the melodic movement of the song "Orac ore", the secret songs of the two notes. Such tasks are composed for teaching each subsequent note. To test the level of mastering as well as to consolidate the knowledge, a large number of test tasks have been prepared at the end of the topic of note literacy. Since they are sufficiently numerous and varied, the test tasks could help verifying the knowledge of both the entire class, and groups or individual children. НОТНО ОГРАМОТЯВАНЕ НА УЧЕНИЦИТЕ ОТ 3. КЛАС НА ОБЩООБРАЗОВАТЕЛНОТО УЧИЛИЩЕ В БЪЛГАРИЯ ЧРЕЗ ЕЛЕКТРОНЕН УЧЕБНИК Красимира Георгиева Филева-Русева Академия за музикално, танцово и изобразително изкуство-Пловдив, България krassyfilleva@abv.bg Резюме: Нотната грамотност не е неотменно необходима на съвременния човек. От друга страна, нотата е по-сложен знак в сравнение с буквата, тъй като с един нотен знак се записват едновременно две от характеристиките (двете най-съществени) на тона-височина и трайност. Тази особеност на нотното писмо означава, че, за да се разчете нотен текст, трябва да се положат по-големи усилия, отколкото за разчитане на словесен текст, т.е. нотното ограмотяване, като по-сложно, има отношение към ускоряване

The Unusual Sounding and the Dramaturgy in the Piano Works by D. Nenov, 2012

The objective of this study is the elaboration of the dramaturgical principles in the piano works... more The objective of this study is the elaboration of the dramaturgical principles in the piano works by Dimitar Nenov. The research conclusions highlighted the following: The intimate connection with the Bulgarian folk music is not enough to explain the unusual sounding of the Nenov`s plays. The spatial interpretation of the notions`staticànd`dynamic`familiarnotions`staticàndnotions`staticànd`dynamic`notions`staticànd`dynamic`familiar to Nenov from his practice as an architect has a profound influence on his piano opuses. In his works, the form of which requires static character in the construction of the chosen musical form, in the thematicism (somewhat-in the texture) a more diverse and more complete approaches are conducted associated with the dynamic principles. In examples with dynamic form the captivating techniques, expressions of the static principle, find manifestation (but incomplete fulfillment) in the textural setup, the type of thematicism, the construction of the themes. More fully developed are the manifestations of the dynamic principle. Main principles determining the form are variability and disproportion. Therefore, in the piano works of Dimitar Nenov is preferred dynamism, complex multilayered texture, connections made at different levels within a piece, sharp sounding dynamic thematicism.

"Youth Album" by Vasil Kazandjiev - Edifying Tales for Young Pianists, 2013

In the clavier cycle "Youth album" the Bulgarian composer Vassil Kazandjiev shows mastery in usin... more In the clavier cycle "Youth album" the Bulgarian composer Vassil Kazandjiev shows mastery in using various methods to develop the instrumental skills of the young pianists. As in some of the works are depicted intriguing characters, while in others, with unconstrained humor, are narrated fascinating stories, the small pieces give substantial lessons on acting. Some of the moral messages, which the composer addresses to the learners, are:  The courage to see the new as something positive.  The diligence and the hard work are qualities, worthy of respect.  Modesty is a quality that should not be neglected.  The antiquity, the past, should be honored.  Those, who are most often chased and harassed, have their right of ease, carefreeness, fun.  The fun can take place without causing any offense.  Beauty is all around us and we need to find it, to awake it for life and to appreciate it. The composer gives a personal example to the learning performers of respect to the national folk art. In recreating music characters, students also learn to experience the tragedy, which is not theirs, learn of empathy, of humanity.

TASKS FOR DEVELOPMENT OF THE OBSERVABILITY IN ELECTRONIC MUSIC TEXTBOOK FOR THE 4TH GRADE OF THE BULGARIAN GENERAL EDUCATION SCHOOL, 2019

Observability is the ability to mark, remember and reproduce as much detail as possible from the ... more Observability is the ability to mark, remember and reproduce as much detail as possible from the perceived object. It is generally believed that better or weaker observability is related only to visual information, but a great deal of detail that can be discerned or left unnoticed also provides the hearing. For example, in a sounded musical work one listener can mark specifics of harmony, of the texture, of the structure, expressive moves in the inner voices, different techniques used by the performer. In the same musical work, another listener can only discern the soprano melody and, in some cases, even not remembering it. This comparison gives us an opportunity to make conclusion about the usefulness of observability in terms of the richness and completeness of perception. The usefulness of observability, however, is not limited to the fullness of the aesthetic pleasure of perceiving a work of art. It is related to the success of each task, as it provides the one who solves the task with more voluminous, more accurate and more detailed information. Some people have a wide range of observability, others are not particularly good. In all cases, however, this valuable human ability is subject to development and improvement. Naturally, the great benefit of having good observability and the fact that it can be improved shows that care should be taken to develop observability at school. Conditions for the development of observability should be created in the textbooks, providing a sufficient number of tasks useful in this respect. In the electronic textbook on music for the 4th grade of the general education school in Bulgaria, which I will analyze in this report, there are several groups of tasks, which, besides their focus on mastering the learning information, have a direct relation to the development of observability. In one of these groups of tasks must be corrected errors in written text. Observability, in this case manifested as the ability to quickly and accurately detect where, what and how many mistakes are made, without any other tooltips, along with the well-learned knowledge is essential to solving these tasks. Other electronic resources are tasks for arranging in groups terms, musical instruments, signs used in the musical score. Observability here is needed to identify timely the elements belonging to a particular group or those, that do not belong to any of available groups. The arrangement of elements in a table-another group of electronic resources in the textbook-is related to quick orientation in the table compilation logic, the comparison of the items whose places are to be searched, by two types of attributes and finding the exact location of each element according to the specific for it ratio of these two types of attributes. In the interest of better development of observability and assimilation of knowledge by pupils in some of the tables in individual cells must be placed two or more elements, and other cells to remain blank. A specific group is formed by the tasks of selecting more than one correct answer. There are assertions listed in these tasks, among which the students must choose the correct ones. Unlike tasks with a single exact answer, the number of correct answers here is not known in advance. It is not known whether or not there is a precise answer, and also whether all the answers will prove to be correct. In these cases, observability, the ability to assess after extracting the largest possible number of characteristics, is definitely important for a successful decision. Академия за музикално, танцово и изобразително изкуство-Пловдив, България krassyfilleva@abv.bg Резюме: Наблюдателност, това е способността да се отбележат, запомнят и възпроизвеждат възможно най-много детайли от възприетия обект. Обикновено се смята, че по-добрата или по-слаба наблюдателност е свързана само със зрителната информация, но голямо количество детайли, които могат да бъдат отчетени или да останат незабелязани, предоставя също и слухът. Така например в едно

The nestinar (fire-dancer) rituals, involving dances on embers, were practiced by the ancient Thr... more The nestinar (fire-dancer) rituals, involving dances on embers, were practiced by the ancient Thracians. Today, they have been preserved in several Bulgarian villages in southeastern Strandzha Mountain, as well as in the village of Stomanovo, the Rhodope Mountains, Southwestern Bulgaria. Such rituals are performed also in several villages in Northern Greece, where they have been carried over by migrants from Strandzha. While in the villages in Strandzha and in Northern Greece, Christian traditions have been overlaid on the ancient pagan ritual-the faith and devotion to Sv. Sv. Konstantin and Elena, for the inhabitants of Stomanovo (whose ritual I will describe in the present exposition), the ritual has not be Christianized-for them, it has remained a pagan Thracian Orphic tradition (well, the legendary Thracian singer and healer, Orpheus, creator of the "Orphism" belief system, lived in the Rhodope Mountains), an expression of the cult to the Great Goddess-Mother, her son Sabazios (Sun-Fire), Zagrey (the Bull God) and, as the people of Stomanovo described it themselves-a celebration of life, of fertility.