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I az beh ed - na na mai - ka The notation of example 24 displays a total disregard of the principle of hemiolia and shows no awareness of Bulgarian rhythmic, metric, and linguistic peculiarities. altogether incorrect to change a three-measure phrase into a phrase of two measures, because, first, the setting becomes entirely melogenic, that is, the melody It is is treated independently of the words. 28 According to also speculates poetic stress falls on the adverb i, and is found in Russian songs of Tartar origin.
Example 34. 3^ E r (or: Ma- ma, mi - la ma - mi - lo che - Tzo- ne koi koi mo, do, chu chu - - ka ka na na p6r por - - etc. ) Because of its unusual appearance and nature, melodies in 13/16 have often undergone a slight change while being notated: the elongated note is treated as a group of four sixteenths. Such further stretching of the already elongated eighth results in a measure of 7/8 J the last three notes which is J _ J^ J w ^^ an i rr ^g u l ar grouping of altogether foreign to Bulgarian music.
Among many use of Bulgarian chant, Tebe odeiushtagosia religious compositions of Russian composers making and Blagoobrazni losif of Bortnianski are among the best known. 12 18 Radev, op. 14 Pencho Slaveikov, "The Folk Song of the Bulgars," The Shade of the Balkans (London, p. 59. , pp. 89-90. 1904), 1 Historic Backgrounds 4 them those of work and song. In song the peasant exposes his innermost feelings of sorrow and exaltation, of reverence and superstition. It is a catharsis for the experiences of a person, a community, a race.