ABSTRACT
This essay surveys the extent and nature of Turkic influence on the music of Bulgaria. It might be expected that Turkic influence would be substantial given that the country takes its name from a Turkic ethnic group (the Bulgars); that the territory of the modern state of Bulgaria was conquered by Ottoman Turks in 1396; that most Bulgarian lands were a part of the Ottoman Empire from 1453 to 1878; and that some parts of the country remained under Ottoman control until 1913. Today a Turkish minority makes up 8 percent of the Bulgarian population of 7 million, and Muslims, including Pomaks (ethnic Bulgarian Muslims) and some Roma, make up an estimated 8 to 12 percent of the population. Turks and Roma brought many musical instruments to the country including the zurna (double-reed aerophone) and drums (davul, darabuka, and daire), which are played mainly by Roma professional musicians, as well as the kaval (end-blown, rim-blown flute) and tambura (long-necked plucked lute) played by ethnic Bulgarian, Christian amateur and professional musicians. Melodies based on Turkish pentachords like hicaz, kürdi, and hüseyni are quite common. Performance elements such as ornamentation and improvisation have their roots in Turkish musical practice as well. Turkish words permeate the Bulgarian language and song lyrics, and many songs deal with memories of what Bulgarians remember as the “Turkish yoke.” This essay elaborates on these and other themes related to this music on the periphery of the Turkic-speaking world.
