THE MUSICAL PEDAGOGICAL AND THEORETICAL CONCEPTS DEVELOPED BY PROF. ZDRAVKO MANOLOV FOR THE DEVELOPMENT OF THE MUSICAL HEARING EDUCATION IN BULGARIA
A look back is always useful because the history points out when, where and how events occurred in order for us to understand where we are now.
More specifically, I relate these thoughts to the creation and development of the Bulgarian solfeggio teaching. This work provides a summary of the main characteristics of the more in-depth concepts in the musical hearing education in Bulgaria from the beginning of the 20th century. It explores ideas developed by Dobri Hristov and Boris Trichkov – the first Bulgarian musicians who turn their concepts into methodical principles for developing the musical hearing skills. Kamen Popdimitrov is considered the father of the discipline and he believed that absolute pitch is in the roots of developing good musical hearing. The next part provides information on Ivan Peev who proposed the idea of the mode and the tonality being essential to the process. A short summary of Asen Diamandiev’s work is included, which has undoubtedly left its mark in all areas of the musical teaching methods and musical education.
The paper also speaks about the views of some Bulgarian pedagogues on the complex structure of the musical hearing suggesting various issues in the process of its development. It emphasises the need for a solid theoretical and methodical training. The main purpose of the next chapter is to provide a reconstruction of the history line of the musical hearing education in Bulgaria.
The reconstruction is not meant to be of complete historical value but is detailed and specified around the work and contribution of prof. Zdravko Manolov. The well-established concept for development of musical hearing based on highly artistic musical models is actively present in all of prof. Manolov’s work. In Bulgaria, this concept is developed in two different aspects:
– the creation of solfeggio literature containing parts of artistic pieces by famous composers (Bulgarian and foreign, from different eras, styles and schools) and
– the creation of literature containing again artistic pieces but written specifically for the purpose of developing musical hearing.
Prof. Zdravko Manolov’s contribution is valuable in both approaches. This paper is part of a detailed research, which analyses, systemises and summarises Prof. Manolov’s contributions and their complex theoretical and practical educational meaning for the muscal hearing development.
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