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“ÊÎÅ Å ÈÑÒÈÍÑÊÎÒÎ ÁÚËÃÀÐÑÊÎ ×ÅÐÊÎÂÍÎ ÏÅÅÍÅ” /ÑËÀÂßÍÎÅÇÈ×ÍÀÒÀ ÁÀËÊÀÍÑÊÀ ÖÚÐÊÎÂÍÎÏÅÑÅÍÍÀ ÒÐÀÄÈÖÈß È ÍÀÖÈÎÍÀËÍÀÒÀ ÈÄÅß/
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WHAT IS THE TRUE BULGARIAN CHURCH SINGING (THE SLAVIC BALKAN CHURCH SONG TRADITION AND THE NATIONAL IDEA )
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N/A
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THE MUSICAL WORLD OF THE ALL-NIGHT VIGIL IN THE WORK OF DOBRI HRISTOV
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ÁÀËÊÀÍÑÊÈ GROOVE: ÏÎÑÒÅÒÍÈ×ÅÑÊÈ ÐÀÇÌÈØËÅÍÈß ÍÀ ÒÅÌÀ ÄÀËÅ×ÍÀ ÌÓÇÈÊÀ È ÏÎÆÅËÀÍÎÒÎ ÄÐÓÃÎ
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BALKAN GROOVE: POSTETHNIC REFLECTIONS ON DISTANT MUSIC AND THE DESIRED OTHER
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ÄÈÀÕÐÎÍÈßÒÀ È ÌÎÄÅËÚÒ ÍÀ ÑÚÂÐÅÌÅÍÍÀÒÀ ÁÚËÃÀÐÑÊÀ ÌÓÇÈÊÀËÍÀ ÊÓËÒÓÐÀ
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DIACHRONY AND THE MODEL OF CONTEMPORARY BULGARIAN MUSICAL CULTURE
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Èíòåðïðåòàöèè íà æàíðîâè ìîäåëè è òÿõíîòî îïèñàíèå â åíöèêëîïåäè÷íè èçäàíèÿ ïîñâåòåíè íà òâîð÷åñòâîòî íà áúëãàðñêèòå êîìïîçèòîðè
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Interpretations of Genre Models and Their Description in the Encyclopaedic Editions Dedicated to the Bulgarian Composers’ Works
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Êîãíèòèâíî èëè èìïðåñèîíèñòè÷íî? Çà ïàðàäèãìèòå â ñúâðåìåííàòà àðòèñòè÷íà äåéíîñò
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Cognitive or impressionistic? About the paradigms in the contemporary artistic activity
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ÎÁÐÀÇÈ ÍÀ ÄÍÅØÍÀ ÁÚËÃÀÐÈß Â ÍÅÃÀÒÈÂÍÈß ÄÈÑÊÓÐÑ ÍÀ ×ÀËÃÀÒÀ
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IMAGES OF CONTEMPORARY BULGARIA IN THE NEGATIVE DISCOURSE OF THE CHALGA
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ÏÐÎÊÈÌÅÍÈÒÅ ÂÚÂ ÂÅËÈÊÎÏÎÑÒÍÎÒÎ ÏÎÑËÅÄÎÂÀÍÈÅ È ÐÀÇÂÈÒÈÅÒÎ ÍÀ ÆÀÍÐÀ
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THE PROKEIMENA IN THE LENTEN SERIES AND THE DEVELOPMENT OF THE GENRE
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ÏÐÎÓ×ÂÀÉÊÈ ÎÑÌÎÃËÀÑÍÈÊÀ: ÎÒ ÎÑÌÎÃËÀÑÍÈÊ ÊÚÌ ÂÚÇÊÐÅÑÍÈÊ
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STUDYING THE OKTOECHOS: FROM THE OKTOECHOS TO THE ANASTASIMATARION
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ÏÐÎÖÅÑÈ Â ÐÀÇÂÈÒÈÅÒÎ ÍÀ ÁÚËÃÀÐÑÊÈß ÌÓÇÈÊÀËÅÍ ÒÅÀÒÚÐ
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PROCESSES IN THE DEVELOPMENT OF THE BULGARIAN MUSICAL THEATRE
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Õëîïêàðñòâîòî â Ãàáðîâñêî /åòíîîðãàíîëîæêè àñïåêòè íà çàíàÿòà/
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Cowbell Making in Gabrovo Region /ethno-organologic aspects of the handicraft /
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11 - íàìåðåíè ñòàòèè