The Phenomenon of “Crossover” and Cross-Cultural Dialogue in Bulgarian Music in 20th Century

Abstract

The phenomenon of “crossover” gained particular importance in numerous domains of public life, particularly in the exciting realm of art, during the twentieth century. When used to represent an “intersection” or “crossing,” it symbolises the internal need for conversation and purposeful intention for infiltration and implantation. It emphatically refuses to be isolated within the boundaries of the regional canon but allows for freedom of choice in the global context, opposes imitation and tracing, and provides a unique image for every creator. The “crossover” discourse showcases the autonomy of individual authors and results in the creation of distinct works that are characterized by their individuality. Bulgaria's musical creativity in the latter half of the 20th century is a remarkably diverse and profound display, characterized by intricate symbolism. It encompasses both elements of national tradition and expressions of global modernity, evident in its stylistic features, genre distinctions, and ethnocultural attributes. The crossover actually forms the European way of thinking of the Bulgarian creator, embodied in a peculiar part of his genetic code. Crossover dialogue gives rise in his artistic consciousness to the ideas of a new type of work, whose two- or multi-domain character turns into a sign of the new cultural identity of their authors. The formation and development of these “crossover” conversations may be seen in so different works such as Milcho Leviev’s jazz cantata “Green House” and Vassil Kazandjiev's symphonic suite “Pictures from Bulgaria.” In this context, the Bulgarian folklore heritage remains lively and distinctively recognisable, but unrepeatable in the perspective of any individual author’s viewing.