{"id":4372,"date":"2022-07-15T10:23:05","date_gmt":"2022-07-15T07:23:05","guid":{"rendered":"http:\/\/www.medialog-bg.com\/?p=4372"},"modified":"2022-07-15T11:05:46","modified_gmt":"2022-07-15T08:05:46","slug":"%d0%b2%d0%b5%d0%bd%d1%86%d0%b8%d1%81%d0%bb%d0%b0%d0%b2-%d0%b4%d0%b8%d0%bc%d0%be%d0%b2-%d0%ba%d1%8a%d0%bc-%d0%bd%d1%8f%d0%ba%d0%be%d0%b8-%d0%b2%d1%8a%d0%b7%d0%bc%d0%be%d0%b6%d0%bd%d0%b8-%d0%b8%d0%bd","status":"publish","type":"post","link":"https:\/\/www.medialog-bg.com\/?p=4372","title":{"rendered":"\u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 \u0414\u0438\u043c\u043e\u0432. \u041a\u044a\u043c \u043d\u044f\u043a\u043e\u0438 \u0432\u044a\u0437\u043c\u043e\u0436\u043d\u0438 \u0438\u043d\u0442\u0435\u0440\u043f\u0440\u0435\u0442\u0430\u0446\u0438\u0438 \u043d\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0430\u0442\u0430 \u043f\u043b\u043e\u0447\u0430 \u043a\u0430\u0442\u043e \u043c\u0435\u0434\u0438\u044f"},"content":{"rendered":"\n<p style=\"text-align:center\" class=\"has-text-color has-vivid-cyan-blue-color\"><strong>\u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 \u0414\u0438\u043c\u043e\u0432<\/strong><\/p>\n\n\n\n<p style=\"text-align:center\"><strong>TO SOME POSSIBLE INTERPRETATIONS OF THE GRAMOPHONE RECORD AS A MEDIA<\/strong><\/p>\n\n\n\n<p style=\"text-align:center\" class=\"has-text-color has-vivid-cyan-blue-color\"><strong>Ventsislav Dimov<\/strong><\/p>\n\n\n\n<p class=\"has-background has-light-green-cyan-background-color\"><strong>\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433\/Medialog 11\/2022<\/strong><br><strong>ISSN 2535-0846\ufeff<\/strong><\/p>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.medialog-bg.com\/wp-content\/uploads\/2022\/07\/04-\u0414\u0438\u043c\u043e\u0432_45-75.pdf\"><br><em>\u041e\u0442\u0432\u043e\u0440\u0435\u0442\u0435 \u0442\u0435\u043a\u0441\u0442\u0430<\/em> \u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 \u0414\u0438\u043c\u043e\u0432<\/a><a href=\"https:\/\/www.medialog-bg.com\/wp-content\/uploads\/2022\/07\/04-\u0414\u0438\u043c\u043e\u0432_45-75.pdf\" class=\"wp-block-file__button\" download>Download<\/a><\/div>\n\n\n\n<p class=\"has-background has-light-green-cyan-background-color\"><br><strong>How to Cite:&nbsp;<\/strong>\u0414\u0438\u043c\u043e\u0432, \u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 (2022). \u041a\u044a\u043c \u043d\u044f\u043a\u043e\u0438 \u0432\u044a\u0437\u043c\u043e\u0436\u043d\u0438 \u0438\u043d\u0442\u0435\u0440\u043f\u0440\u0435\u0442\u0430\u0446\u0438\u0438 \u043d\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0430\u0442\u0430 \u043f\u043b\u043e\u0447\u0430 \u043a\u0430\u0442\u043e \u043c\u0435\u0434\u0438\u044f. <em>\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433,&nbsp;<\/em>11\/2022, \u0441. 45-75. https:\/\/www.medialog-bg.com\/?p=4372 [Dimov, Ventsislav (2022). To some possible interpretations of the gramophone record as a media. <em>Medialog<\/em>, 11\/2022, pp. 45-75]<\/p>\n\n\n\n<p><strong>\u0420\u0435\u0437\u044e\u043c\u0435<\/strong>: \u0421\u0442\u0430\u0442\u0438\u044f\u0442\u0430 \u0440\u0430\u0437\u0433\u043b\u0435\u0436\u0434\u0430 \u043a\u043e\u043c\u0435\u0440\u0441\u0438\u0430\u043b\u043d\u0438\u0442\u0435 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0438 \u043f\u043b\u043e\u0447\u0438 \u0438 \u0441\u0435 \u0444\u043e\u043a\u0443\u0441\u0438\u0440\u0430 \u0432\u044a\u0440\u0445\u0443 \u0444\u0443\u043d\u043a\u0446\u0438\u043e\u043d\u0438\u0440\u0430\u043d\u0435\u0442\u043e \u0438\u043c \u043a\u0430\u0442\u043e \u043c\u0435\u0434\u0438\u044f \u043f\u0440\u0435\u0437 \u043f\u044a\u0440\u0432\u0430\u0442\u0430 \u043f\u043e\u043b\u043e\u0432\u0438\u043d\u0430 \u043d\u0430 \u0425\u0425 \u0432\u0435\u043a.\u041f\u0440\u0435\u0437 \u043f\u044a\u0440\u0432\u0438\u044f \u0435\u0442\u0430\u043f \u043d\u0430 \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u0435 \u043d\u0430 \u0448\u0435\u043b\u043b\u0430\u043a\u043e\u0432\u0430\u0442\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0430 \u043f\u043b\u043e\u0447\u0430 (\u043e\u0442 1900-\u0442\u0430 \u0434\u043e\u043a\u0440\u0430\u044f \u043d\u0430 20-\u0442\u0435 \u0433\u043e\u0434\u0438\u043d\u0438) \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0430\u0442\u0430 \u043f\u043b\u043e\u0447\u0430 \u0441\u0442\u0430\u0432\u0430 \u043e\u0441\u043d\u043e\u0432\u0435\u043d \u043c\u0435\u0434\u0438\u0443\u043c \u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430\u043b\u043d\u0430\u0442\u0430\u0438\u043d\u0434\u0443\u0441\u0442\u0440\u0438\u044f, \u0438\u043c\u0430 \u0433\u043b\u043e\u0431\u0430\u043b\u043d\u043e \u0440\u0430\u0437\u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u0435 \u0438 \u043f\u0440\u043e\u0434\u0430\u0436\u0431\u0438, \u043a\u043e\u043d\u043a\u0443\u0440\u0438\u0440\u0430 \u0432\u043e\u0434\u0435\u0449\u0438\u0442\u0435 \u043c\u0435\u0434\u0438\u0438 \u0438\u0444\u043e\u0440\u043c\u0438 \u0437\u0430 \u0440\u0435\u043f\u0440\u043e\u0434\u0443\u0446\u0438\u0440\u0430\u043d\u0435 \u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430 \u0438 \u0438\u0437\u043a\u0443\u0441\u0442\u0432\u043e: \u043a\u0438\u043d\u043e \u0438 \u0440\u0430\u0434\u0438\u043e. \u0421\u0442\u0430\u0442\u0438\u044f\u0442\u0430 \u0441\u0435 \u0444\u043e\u043a\u0443\u0441\u0438\u0440\u0430\u0432\u044a\u0440\u0445\u0443 \u043d\u044f\u043a\u043e\u043b\u043a\u043e \u0430\u043a\u0446\u0435\u043d\u0442\u0430. \u041f\u0438\u0442\u0430 \u0441\u0435 \u043a\u0430\u043a \u0434\u0430 \u0441\u0435 \u0438\u0437\u0441\u043b\u0435\u0434\u0432\u0430\u0442 \u0441\u0442\u0430\u0440\u0438\u0442\u0435 \u043a\u043e\u043c\u0435\u0440\u0441\u0438\u0430\u043b\u043d\u0438\u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0438 \u043f\u043b\u043e\u0447\u0438 \u0434\u043d\u0435\u0441: \u043a\u0430\u0442\u043e \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u0438 \u043f\u0440\u0435\u0434\u043c\u0435\u0442, \u0437\u0432\u0443\u043a\u043e\u0432 \u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442 \u0438\u043b\u0438 \u043c\u0435\u0434\u0438\u044f?\u0421\u043e\u0447\u0430\u0442 \u0441\u0435 \u043d\u044f\u043a\u043e\u0438 \u043c\u0435\u0442\u043e\u0434\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0438 \u0438 \u043f\u043e\u0441\u043e\u043a\u0438 \u0437\u0430 \u0431\u044a\u0434\u0435\u0449\u0438 \u0438\u0437\u0441\u043b\u0435\u0434\u0432\u0430\u043d\u0438\u044f. \u0414\u0430\u0432\u0430\u0442\u0441\u0435 \u043f\u0440\u0438\u043c\u0435\u0440\u0438 \u0441 \u0438\u0441\u0442\u043e\u0440\u0438\u044f\u0442\u0430 \u043d\u0430 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0430\u0442\u0430 \u043c\u0443\u0437\u0438\u043a\u0430\u043b\u043d\u0430 \u0438\u043d\u0434\u0443\u0441\u0442\u0440\u0438\u044f \u0438 \u043c\u0435\u0434\u0438\u0439\u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430 \u043f\u0440\u0435\u0437\u043f\u044a\u0440\u0432\u0430\u0442\u0430 \u043f\u043e\u043b\u043e\u0432\u0438\u043d\u0430 \u043d\u0430 \u0425\u0425 \u0432\u0435\u043a.<\/p>\n\n\n\n<p><strong>\u041a\u043b\u044e\u0447\u043e\u0432\u0438\n\u0434\u0443\u043c\u0438<\/strong>: \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d, \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u0438 \u043a\u043e\u043c\u0435\u0440\u0441\u0438\u0430\u043b\u043d\u0438\n\u0437\u0430\u043f\u0438\u0441\u0438, \u0442\u0435\u0445\u043d\u043e\u043b\u043e\u0433\u0438\u0438, \u043c\u0435\u0434\u0438\u0430\u0442\u0438\u0437\u0430\u0446\u0438\u044f, \u043a\u0443\u043b\u0442\u0443\u0440\u043d\u043e \u043f\u043e\u043b\u0435.<\/p>\n\n\n\n<p><strong>Abstract<\/strong>: This article examines commercial gramophone records and\nfocuses on their functioning as a medium in the first half of the twentieth\ncentury. During the first stage of the development of the shellac gramophone\nrecord (from the 1900s to the late 1920s), the gramophone record became the\nmain medium of the music industry, had global distribution and sales, and\ncompeted with the leading media and forms of music and art reproduction: cinema\nand radio. The article focuses on several highlights. It asks how old\ncommercial gramophone records should be studied today: as historical object,\nsound document, or media? Some methodological problems and directions for\nfuture research are pointed out. Examples are given of the history of the\nBulgarian music industry and media music in the first half of the twentieth\ncentury.<\/p>\n\n\n\n<p><strong>Keywords<\/strong>: gramophone, historical commercial records, technologies, mediatization, field of culturalproduction.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><em>\u0422\u0435\u043a\u0441\u0442\u044a\u0442 \u0435 \u0440\u0430\u0437\u0440\u0430\u0431\u043e\u0442\u0435\u043d \u0432 \u0440\u0430\u043c\u043a\u0438\u0442\u0435 \u043d\u0430 \u043d\u0430\u0443\u0447\u043d\u043e\u0438\u0437\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u0442\u0435\u043b\u0441\u043a\u0438\u044f\u043f\u0440\u043e\u0435\u043a\u0442 \u201e\u041f\u043e\u043f-\u043a\u0443\u043b\u0442\u0443\u0440\u0430, \u043f\u043e\u043f-\u043f\u043e\u043b\u0438\u0442\u0438\u043a\u0430: \u0434\u0438\u0433\u0438\u0442\u0430\u043b\u043d\u0438\u044f\u0442 \u043e\u0431\u0440\u0430\u0442. \u0418\u043d\u0442\u0435\u0440\u0434\u0438\u0441\u0446\u0438\u043f\u043b\u0438\u043d\u0430\u0440\u043d\u0438\u0430\u043d\u0430\u043b\u0438\u0437\u0438 \u043d\u0430 \u043f\u0440\u0435\u0441\u0435\u0447\u043d\u043e\u0441\u0442\u0442\u0430 \u043c\u0435\u0436\u0434\u0443 \u043c\u0435\u0434\u0438\u0438, \u043a\u0443\u043b\u0442\u0443\u0440\u0438 \u0438 \u043f\u043e\u043b\u0438\u0442\u0438\u043a\u0438\u201c, \u0441 \u0444\u0438\u043d\u0430\u043d\u0441\u043e\u0432\u0430\u0442\u0430\u043f\u043e\u0434\u043a\u0440\u0435\u043f\u0430 \u043d\u0430 \u0424\u041d\u0418\u2013\u041c\u041e\u041d, \u0434\u043e\u0433\u043e\u0432\u043e\u0440 \u2116 \u041d55\/2, \u043e\u0442 15.12.2021 \u0433.<\/em> <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-background has-light-green-cyan-background-color\"><strong>\u0418\u0437\u043f\u043e\u043b\u0437\u0432\u0430\u043d\u0430 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0430<\/strong><\/p>\n\n\n\n<p><strong>\u0410\u0420\u041d\u0425\u0410\u0419\u041c<\/strong>, \u0420\u0443\u0434\u043e\u043b\u0444 (2011). \u0424\u0438\u043b\u043c\u044a\u0442 \u0438 \u0440\u0430\u0434\u0438\u043e\u0442\u043e (1933). \u0420\u0435\u043f\u0440\u043e\u0434\u0443\u043a\u0442\u0438\u0432\u043d\u043e\u0442\u043e\n\u0438\u0437\u043a\u0443\u0441\u0442\u0432\u043e (2004). \u0412: \u0419\u041e\u0422\u041e\u0412, \u0421\u0442\u0438\u043b\u0438\u044f\u043d (\u0441\u044a\u0441\u0442.) <em>\u041a\u043e\u0433\u0430\u0442\u043e\n\u043c\u0435\u0434\u0438\u0438\u0442\u0435 \u043d\u0435 \u0431\u044f\u0445\u0430 \u043f\u043e\u0441\u0442\u043c\u043e\u0434\u0435\u0440\u043d\u0438.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0410\u0433\u0430\u0442\u0430-\u0410, \u0441. 147-150. [\u0410rnhaym, Rudolf\n(2011). Filmat i radioto (1933). Reproduktivnoto izkustvo (2004). V: Yotov,\nStiliyan (sast.) Kogato mediite ne byaha postmoderni. Sofiya: Agata-A, s.\n147-150].<\/p>\n\n\n\n<p><strong>\u0411\u0415\u041d\u042f\u041c\u0418\u041d<\/strong>, \u0412\u0430\u043b\u0442\u0435\u0440 (2000). <em>\u041e\u0437\u0430\u0440\u0435\u043d\u0438\u044f<\/em>.\n\u0421\u043e\u0444\u0438\u044f: \u041a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438 \u0445\u0443\u043c\u0430\u043d\u0438\u0437\u044a\u043c. [Benyamin, Valter (2000). Ozareniya. Sofiya:\nKritika i humanizam].<\/p>\n\n\n\n<p><strong>\u0411\u0423\u0420\u0414\u0418\u0419\u041e<\/strong>, \u041f\u0438\u0435\u0440 (1993). <em>\u041a\u0430\u0437\u0430\u043d\u0438\n\u043d\u0435\u0449\u0430<\/em>. \u0421\u043e\u0444\u0438\u044f: \u0423\u0418 \u201e\u0421\u0432. \u041a\u043b\u0438\u043c\u0435\u043d\u0442 \u041e\u0445\u0440\u0438\u0434\u0441\u043a\u0438\u201c. [Burdiyo, Pier. 1993. Kazani\nneshta. Sofiya: UI \u201eSv. Kliment Ohridski\u201c].<\/p>\n\n\n\n<p><strong>\u0411\u0423\u0420\u0414\u0418\u0419\u041e<\/strong>, \u041f\u0438\u0435\u0440 (2012). <em>\u041f\u043e\u043b\u0435\u0442\u0430.\n\u0422\u043e\u043c I. \u041f\u043e\u043b\u0435\u0442\u0430 \u043d\u0430 \u0434\u0443\u0445\u0430.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0418\u0437\u0442\u043e\u043a-\u0417\u0430\u043f\u0430\u0434. [Burdiyo, Pier. 2012.\nPoleta. Tom I. Poleta na duha. Sofiya: Iztok-Zapad].<\/p>\n\n\n\n<p><strong>\u0413\u0415\u041e\u0420\u0413\u0418\u0415\u0412<\/strong>, \u0413\u0435\u043e\u0440\u0433\u0438 (1983). <em>\u0421\u043e\u0444\u0438\u044f\n\u0438 \u0441\u043e\u0444\u0438\u044f\u043d\u0446\u0438.<\/em> \u0421\u043e\u0444\u0438\u044f: \u201e\u041d\u0430\u0443\u043a\u0430 \u0438 \u0438\u0437\u043a\u0443\u0441\u0442\u0432\u043e\u201d. [Georgiev, Georgi. 1983 Sofiya i\nsofiyantsi. Sofiya: \u201eNauka i izkustvo\u201d].<\/p>\n\n\n\n<p><strong>\u0413\u0415\u041e\u0420\u0413\u0418\u0415\u0412<\/strong>, \u0413\u0435\u043e\u0440\u0433\u0438 \u0421\u0442. (1992). <em>\u0415\u0434\u0438\u043d\n\u043e\u0442 \u041f\u044a\u0440\u0432\u0430 \u0434\u0438\u0432\u0438\u0437\u0438\u044f<\/em>. \u0421\u043e\u0444\u0438\u044f: \u0412\u043e\u0435\u043d\u043d\u043e \u0438\u0437\u0434\u0430\u0442\u0435\u043b\u0441\u0442\u0432\u043e [Georgiev, Georgi St. 1992.\nEdin ot Parva diviziya. Sofiya: Voenno izdatelstvo].<\/p>\n\n\n\n<p><strong>\u0414\u0418\u041c\u041e\u0412<\/strong>, \u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 (2005). \u201e\u041a\u044a\u043c \u0438\u0437\u0441\u043b\u0435\u0434\u0432\u0430\u043d\u0435 \u043d\u0430 \u0437\u0430\u043f\u0438\u0441\u0430\u043d\u0430\u0442\u0430 \u043c\u0443\u0437\u0438\u043a\u0430 \u0432\n\u0411\u044a\u043b\u0433\u0430\u0440\u0438\u044f \u043e\u0442 \u043f\u044a\u0440\u0432\u0430\u0442\u0430 \u043f\u043e\u043b\u043e\u0432\u0438\u043d\u0430 \u043d\u0430 \u0425\u0425 \u0432\u0435\u043a: \u0430\u0440\u0445\u0438\u0432\u0438 \u0438 \u043a\u043e\u043b\u0435\u043a\u0446\u0438\u0438\u201c. <em>\u0411\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u043e \u043c\u0443\u0437\u0438\u043a\u043e\u0437\u043d\u0430\u043d\u0438\u0435,<\/em> \u2116 1, \u0441. 144-172.\n[Dimov, Ventsislav (2005) \u201cKam izsledvane na zapisanata muzika v Balgariya ot\nparvata polovina na \u0425\u0425 vek: arhivi i kolektsii\u201d. Balgarsko muzikoznanie, \u2116 1:\ns. 144-172].<\/p>\n\n\n\n<p><strong>\u0414\u0418\u041c\u041e\u0412<\/strong>, \u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 (2006\u0430). \u201e\u041a\u043e\u043c\u0435\u0440\u0441\u0438\u0430\u043b\u043d\u0438\u0442\u0435 \u0437\u0430\u043f\u0438\u0441\u0438 \u043d\u0430 \u0444\u043e\u043b\u043a\u043b\u043e\u0440\u043d\u0430\u0442\u0430\n\u043c\u0443\u0437\u0438\u043a\u0430 \u2013 \u043d\u043e\u0432 \u043e\u0431\u0435\u043a\u0442 \u0432 \u0435\u0442\u043d\u043e\u043c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0433\u0438\u044f\u0442\u0430\u201d. \u0412\u044a\u043b\u0447\u0438\u043d\u043e\u0432\u0430-\u0427\u0435\u043d\u0434\u043e\u0432\u0430 (\u0440\u0435\u0434.) <em>\u041d\u043e\u0432\u0438 \u0438\u0434\u0435\u0438 \u0432 \u043c\u0443\u0437\u0438\u043a\u043e\u0437\u043d\u0430\u043d\u0438\u0435\u0442\u043e.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0421\u0411\u041a,\n\u0441. 176-194.[ Dimov, Ventsislav (2006) \u201cKomersialnite zapisi na folklorna muzika\n\u2013 nov obekt v etnomuzikologiyata\u201d. Valchinova-Chendova (ed.)&nbsp; Novi idei v muzikoznanieto, Sofiya: SBK, s.\n176-194].<\/p>\n\n\n\n<p><strong>\u0414\u0418\u041c\u041e\u0412<\/strong>, \u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 (2006\u0431). \u0420\u0430\u043d\u043d\u0438 \u0437\u0430\u043f\u0438\u0441\u0438 \u043d\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u0438 \u0438\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0442\u0438\n\u0432 \u0411\u044a\u043b\u0433\u0430\u0440\u0438\u044f (\u041d\u0430\u0443\u0447\u043d\u0438 \u0438 \u043a\u043e\u043c\u0435\u0440\u0441\u0438\u0430\u043b\u043d\u0438 \u0437\u0430\u043f\u0438\u0441\u0438 \u0432\u044a\u0440\u0445\u0443 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0438 \u043f\u043b\u043e\u0447\u0438 \u043d\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u0438\n\u0430\u0435\u0440\u043e\u0444\u043e\u043d\u043d\u0438 \u0438\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0442\u0438 \u043e\u0442 \u0411\u044a\u043b\u0433\u0430\u0440\u0438\u044f \u043f\u0440\u0435\u0437 \u043f\u044a\u0440\u0432\u0430\u0442\u0430 \u043f\u043e\u043b\u043e\u0432\u0438\u043d\u0430 \u043d\u0430 \u0425\u0425 \u0432\u0435\u043a). <em>\u0411\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u043e \u043c\u0443\u0437\u0438\u043a\u043e\u0437\u043d\u0430\u043d\u0438\u0435<\/em>, \u0433\u043e\u0434. \u0425\u0425\u0425, \u2116 3,\n\u0441. 77-96. [Dimov, Ventsislav (2004). Ranni zapisi na traditsionni instrumenti v\nBulgaria (Nauchni i komersiali zapisi vurhu gramofonni plochi na traditsionni\naerofonni instrumenti ot Bulgaria prez purvata polovina na XX vek). Balgarsko\nmuzikoznanie, god. \u0425\u0425\u0425, \u2116 3, pp. 77-96].<\/p>\n\n\n\n<p><strong>\u041a\u0410\u041d\u0410\u0417\u0418\u0420\u0421\u041a\u0418-\u0412\u0415\u0420\u0418\u041d<\/strong>, \u0413\u0435\u043e\u0440\u0433\u0438 (1947). <em>\u0421\u043e\u0444\u0438\u044f\n\u043f\u0440\u0435\u0434\u0438 50 \u0433\u043e\u0434\u0438\u043d\u0438.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0411\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0430 \u043a\u043d\u0438\u0433\u0430 [Sofiya predi 50 godini. Sofiya:\nBalgarska kniga].<\/p>\n\n\n\n<p><strong>\u041a\u0415\u0420\u0427\u041e\u0412\u0410-\u041f\u042a\u0426\u0410\u041d<\/strong>, \u041b\u0443\u043b\u0443, \u0414\u0435\u0434\u0435 \u041b\u0443\u043a\u0430 \u0412\u0415\u041b\u0427\u041e\u0412 (2013). <em>\u0411\u0443\u043a\u0443\u0440\u0435\u0449 \u043e\u0442\u0431\u043b\u0438\u0437\u043e.<\/em> Timi\u015foara: Waldpress. [Kerchova-Patsan, Lulu, Dede\nLuka Velchov. 2013. Bukuresht otblizo. Timi\u015foara: Waldpress].<\/p>\n\n\n\n<p><strong>\u041a\u041e\u0421\u0422\u0415\u041d\u0426\u0415\u0412\u0410<\/strong>, \u0420\u0430\u0439\u043d\u0430 (1979). <em>\u041c\u043e\u044f\u0442\n\u0440\u043e\u0434\u0435\u043d \u0433\u0440\u0430\u0434 \u0421\u043e\u0444\u0438\u044f \u043f\u0440\u0435\u0434\u0438 75 \u0433\u043e\u0434\u0438\u043d\u0438 \u0438 \u043f\u043e\u0441\u043b\u0435<\/em> [Moyat roden grad Sofiya predi 75\ngodini i posle]. \u0421\u043e\u0444\u0438\u044f: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u0441\u0442\u0432\u043e \u043d\u0430 \u041e\u0424 [Sofiya: Izdatelstvo na OF].<\/p>\n\n\n\n<p><strong>\u041a\u042a\u0420\u0414\u0416\u0418\u041b\u041e\u0412<\/strong>, \u041f\u0435\u0442\u044a\u0440 (2016). <em>\u041e\u0437\u0430\u0440\u0435\u043d\u0438\u044f\n\u0432 \u043f\u043e\u043b\u0438\u0442\u0435 \u043d\u0430 \u0412\u0438\u0442\u043e\u0448\u0430. \u041b\u0435\u0442\u043e\u043f\u0438\u0441 \u043d\u0430 \u0440\u0430\u043d\u043d\u043e\u0442\u043e \u043a\u0438\u043d\u043e \u0432 \u0421\u043e\u0444\u0438\u044f (1896\u20131915)<\/em>. [Ozareniya\nv polite na Vitosha. Letopis na rannoto kino v Sofiya (1896\u20131915)]. \u0421\u043e\u0444\u0438\u044f:\n\u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0447\u043d\u043e \u0438\u0437\u0434\u0430\u0442\u0435\u043b\u0441\u0442\u0432\u043e \u201e\u041f\u0440\u043e\u0444. \u041c\u0430\u0440\u0438\u043d \u0414\u0440\u0438\u043d\u043e\u0432\u201c [Sofiya: Akademichno izdatelstvo\n\u201eProf. Marin Drinov\u201c].<\/p>\n\n\n\n<p><strong>\u041a\u042a\u0420\u0414\u0416\u0418\u041b\u041e\u0412<\/strong>, \u041f\u0435\u0442\u044a\u0440 (2022). \u0420\u0435\u043a\u043b\u0430\u043c\u0430\u0442\u0430 \u0437\u0430 \u201e\u0447\u0443\u0434\u043e\u0442\u043e \u043d\u0430 XIX \u0432\u0435\u043a\u201d \u2013\n\u201e\u043f\u044a\u0440\u0432\u0438\u0447\u043d\u0438\u044f\u0442 \u043e\u043a\u0435\u0430\u043d\u201d, \u043e\u0442 \u043a\u043e\u0439\u0442\u043e \u043f\u0440\u043e\u0438\u0437\u043b\u0438\u0437\u0430 \u0441\u044a\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0430\u0442\u0430 \u0444\u0438\u043b\u043c\u043e\u0432\u0430 \u043a\u0440\u0438\u0442\u0438\u043a\u0430.\n\u0421\u0432\u0438\u0434\u0435\u0442\u0435\u043b\u0441\u0442\u0432\u0430 \u0432 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u044f \u043f\u0435\u0440\u0438\u043e\u0434\u0438\u0447\u0435\u043d \u043f\u0435\u0447\u0430\u0442 (1896\u20131914). <em>\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433<\/em>, \u2116 11. [Kardzhilov, Petar (2022). \u201eReklamata za \u201echudoto\nna XIX vek\u201d \u2013 \u201eparvichniyat okean\u201d, ot koyto proizliza savremennata filmova\nkritika. Svidetelstva v balgarskiya periodichen pechat (1896\u20131914). Medialog, \u2116\n11].<\/p>\n\n\n\n<p><strong>\u041c\u0410\u041a\u041b\u0423\u042a\u041d<\/strong>, \u041c\u0430\u0440\u0448\u0430\u043b \u0438 \u0415\u0440\u0438\u043a (1995). <em>\u0417\u0430\u043a\u043e\u043d\u0438\n\u043d\u0430 \u043c\u0435\u0434\u0438\u0438\u0442\u0435.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0423\u0418 \u201e\u0421\u0432. \u041a\u043b\u0438\u043c\u0435\u043d\u0442 \u041e\u0445\u0440\u0438\u0434\u0441\u043a\u0438\u201c [Makluan, Marshal i Erik.\n1995. Zakoni na mediite. Sofiya: UI \u201eSv. Kliment Ohridski\u201c].<\/p>\n\n\n\n<p><strong>\u041f\u0415\u0422\u0420\u041e\u0412<\/strong>, \u041b\u044e\u0431\u043e\u043c\u0438\u0440 (1974). \u0420\u0430\u043d\u043d\u043e\u0442\u043e \u0440\u0430\u0437\u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u0435 \u043d\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u0430 \u0432\n\u041f\u043b\u043e\u0432\u0434\u0438\u0432 \u0438 \u0441\u0435\u043b\u0438\u0449\u0430\u0442\u0430 \u043e\u0442 \u041f\u043b\u043e\u0432\u0434\u0438\u0432\u0441\u043a\u0438 \u043a\u0440\u0430\u0439. <em>\u0413\u043e\u0434\u0438\u0448\u043d\u0438\u043a\n\u043d\u0430 \u043d\u0430\u0440\u043e\u0434\u043d\u0438\u044f \u0435\u0442\u043d\u043e\u0433\u0440\u0430\u0444\u0441\u043a\u0438 \u043c\u0443\u0437\u0435\u0439 \u2013 \u041f\u043b\u043e\u0432\u0434\u0438\u0432<\/em>, \u2116 2, \u0441. 99-137. [Petrov, Lyubomir.\n1974. \u201cRannoto razprostranenie na gramofona v Plovdiv i selishtata ot\nPlovdivskiya kray\u201d. Godishnik na narodniya etnografski muzey \u2013 Plovdiv, no. 2,\npp. 99-137].<\/p>\n\n\n\n<p><strong>\u041f\u0415\u0422\u0420\u041e\u0412\u0410<\/strong>, \u0421\u0443\u043b\u0442\u0430\u043d\u0430 \u0420. (1991). <em>\u041c\u043e\u0438\u0442\u0435\n\u0441\u043f\u043e\u043c\u0435\u043d\u0438.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u0441\u0442\u0432\u043e \u043d\u0430 \u0411\u0410\u041d. [Petrova, Sultana R. 1991. Moite spomeni. Sofiya:\nIzdatelstvo na BAN].<\/p>\n\n\n\n<p><strong>\u0426\u0412\u0415\u0422\u041a\u041e\u0412\u0410<\/strong>, \u041c\u0438\u043b\u0435\u043d\u0430 (2012). <em>\u041a\u043d\u0438\u0433\u0430\u0442\u0430\n\u043a\u0430\u0442\u043e \u043c\u0435\u0434\u0438\u044f.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0415\u043d\u0442\u0443\u0441\u0438\u0430\u0441\u0442 [Tsvetkova, Milena. 2012. Knigata kato mediya.\nSofiya: Entusiast].<\/p>\n\n\n\n<p><strong>CERIBA\u0160I\u0106<\/strong>, Naila (2021). Music as Recording, Music in Culture, and\nthe Study of Early Recording Industry in Ethnomusicology: A Take on Edison Bell\nPenkala. <em>IRASM<\/em>,&nbsp; vol. 52, no. 2, pp. 323\u2013354.<\/p>\n\n\n\n<p><strong>DIMOV<\/strong>, Ventsislav (2008). On some Early Evidence of Musical\nHybridization: Observation on Commercial Gramophone Records from Bulgaria. <em>The Human World and Musical Diversity.\nProceeding from the Fourth Meeting of the ICTM Study Group \u201cMusic and\nMinorities\u201d in Varna, Bulgaria 2006<\/em>. Sofia: Institute of Art Studies, pp.\n43-50.<\/p>\n\n\n\n<p><strong>DURHAM<\/strong>, Meenakshi G., Douglas M. KELLNER (Eds.)\n(2006). <em>Media and Cultural Studies<\/em>.\nKey Works. Malden &amp; Oxford: Blackwell Publishing.<\/p>\n\n\n\n<p><strong>GRONOW<\/strong>, Pekka (1981). The Record Industry comes to the Orient. <em>Ethnomusicology<\/em>,&nbsp; vol. 25, no. 2, pp. 251-284.<\/p>\n\n\n\n<p><strong>GRONOW<\/strong>, Pekka (1983). The Record Industry: Growth of a mass medium.\n<em>Popular Music<\/em> \u2116 3, pp. 53-76.<\/p>\n\n\n\n<p><strong>GRONOW<\/strong>, Pekka (1996). <em>The\nRecording Industry: An Ethnomusicological Approach<\/em>. Tampere: University of\nTampere.<\/p>\n\n\n\n<p><strong>HJARVARD<\/strong>, Stig (2008). The Mediatization of Society: A Theory of the\nMedia as Agents of Social and Cultural Change. <em>Nordicom Review, <\/em>vol. 29, no.2, pp. 105-134.<\/p>\n\n\n\n<p><strong>HULL<\/strong>, Geoffrey P. (2004). <em>The\nRecording Industry<\/em>. New York and London: Routledge. <\/p>\n\n\n\n<p><strong>KATZ<\/strong>, Mark (2010). <em>Capturing\nSound: How Technology Has Changed Music<\/em>. Berkeley and Los Angeles:\nUniversity of California Press.<\/p>\n\n\n\n<p><strong>KITTLER<\/strong>, Friedrich (1999).&nbsp; <em>Gramophone, Film, Typewriter<\/em>. Stanford:\nStanford University Press.&nbsp; <\/p>\n\n\n\n<p><strong>KR\u00c4MER<\/strong>, Benjamin (2011). The\nmediatization of music as the emergence and transformation of institutions: A\nsynthesis. <em>International Journal of\nCommunication<\/em>, no. 5, pp. 471\u2013491.<\/p>\n\n\n\n<p><strong>KUNEI<\/strong>, Drago (2014). Slovenski posnetki na gramofonskih plo\u0161\u010dah z\n78 o\/min. <em>Traditiones<\/em>, vol.43, no. 2,\npp. 11-29.<\/p>\n\n\n\n<p><strong>KUNEJ<\/strong>, Drago and Rebeka <strong>KUNEJ<\/strong>\n(2017). <em>Music from both sides: gramophone\nrecords made by Matija Arko and the Hoyer Trio<\/em>. Ljubljana: Zalo\u017eba ZRC.<\/p>\n\n\n\n<p><strong>KUNEJ<\/strong>, Rebeka (2013). Looking at Folk Dance. The Overlooked\nResources of Old Gramophone Records. (Drago Kunej\nand Ur\u0161a \u0160ivic, eds.) <em>Trapped in Folklore? Studies in\nMusic and Dance Tradition and Their Contemporary Transformations<\/em>. <em>(Musikethnologie\n\/ Ethnomusicology<\/em>, vol. 7). Z\u00fcrich, Berlin: LIT\nVerlag, pp. 161\u2013179.<\/p>\n\n\n\n<p><strong>MALM<\/strong>, Krister (1992). The Music Industry. Myers, Helen (Ed.). <em>Ethnomusicology. An Introduction<\/em>.\nLondon: MacMillan Press, pp. 349-364.<\/p>\n\n\n\n<p><strong>NEGUS<\/strong>, Keith (1996). <em>Popular\nMusic in Theory: An Introduction<\/em>. Cambridge: Polity Press.<\/p>\n\n\n\n<p><strong>PENNANEN<\/strong>, Risto Pekka (2005). Kako Koristiti Komercijalne Snimke za\nMuzicko Istrazivanje: Metodoloski Pribor za Prvu Pomoc. <em>Muzika. IV. Medunarodni Simpozij \u201cMuzika u Drustvu\u201d, Sarajevo,\nMusicological Society of the FbiH<\/em>, pp. 28-44.<\/p>\n\n\n\n<p><strong>PENNANEN<\/strong>, Risto Pekka (2007). Immortalised on Wax: Professional Folk\nMusicians and Their Gramophone Recordings Made in Sarajevo, 1907 and 1908.\nBo\u017eidar Jezernik et al. (eds), <em>Europe and\nIts Other: Notes on the Balkans<\/em><em>.<\/em> Ljubljana: Filozofska fakulteta, pp. 107-148.<\/p>\n\n\n\n<p><strong>WALL<\/strong>, Tim (2003). <em>Studying\nPopular Music Culture<\/em>. London &amp; New York: Arnold.<\/p>\n\n\n\n<p><strong>WALLIS<\/strong>, Roger, Krister <strong>MALM<\/strong>\n(1984). <em>Big Sounds from Small Peoples:\nThe Music Industry in Small Countries<\/em>.&nbsp;\nLondon: Constable.<\/p>\n\n\n\n<p><strong>ZIEGLER<\/strong>, Susanne, Ingrid \u00c5kesson, Gerda Lechleitner and Susana\nSardo (Eds.) (2017). <em>Historical Sources\nof Ethnomusicology in Contemporary Debate<\/em>. Cambridge Scholars Publishing.<\/p>\n\n\n\n<p><strong>\u0418\u0437\u043f\u043e\u043b\u0437\u0432\u0430\u043d\u0438 \u0438\u0437\u0442\u043e\u0447\u043d\u0438\u0446\u0438<\/strong><\/p>\n\n\n\n<p><strong>\u0411.\u0410.<\/strong> (1903). \u201e\u041d\u0430\u0439-\u0434\u043e\u0431\u0440\u0438\u0442\u0435 \u0432 \u0441\u0432\u0435\u0442\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u0438\u201c (\u0440\u0435\u043a\u043b\u0430\u043c\u0430 \u043d\u0430 \u0444\u0430\u0431\u0440\u0438\u043a\u0430\n\u201e\u041e\u0440\u0438\u0435\u043d\u0442\u201c, \u041c\u0430\u043a\u0441 \u0412\u0435\u0431\u0435\u0440, \u0420\u0443\u0441\u0435). \u0432. \u0412\u0435\u0447\u0435\u0440\u043d\u0430 \u043f\u043e\u0449\u0430, \u0421\u043e\u0444\u0438\u044f, \u0433. \u0406V, \u2116 740, 8. \u0410\u0432\u0433\u0443\u0441\u0442\n1903. [B.A. (1903). \u201eNay-dobrite v sveta gramofoni\u201c (reklama na fabrika\n\u201eOrient\u201c, Maks Veber, Ruse). v. Vecherna poshta, Sofiya, g. \u0406V, \u2116 740, 8.\nAvgust 1903]<\/p>\n\n\n\n<p><strong>\u0411.\u0410.<\/strong> (1904\u0430). Grammophon (\u0440\u0435\u043a\u043b\u0430\u043c\u0430 \u043d\u0430 \u041c\u0430\u043a\u0441 \u0412\u0435\u0431\u0435\u0440, \u0420\u0443\u0441\u0435). \u0432. \u041c\u0438\u0440,\n\u0421\u043e\u0444\u0438\u044f, \u0433. \u0425, \u2116 1370, 4 \u044f\u043d\u0443\u0430\u0440\u0438 1904 [B.A. (1904a). Grammophon (reklama na Maks\nVeber, Ruse). v. Mir, Sofiya, g. H, \u2116 1370, 4 yanuari 1904]<\/p>\n\n\n\n<p><strong>\u0411.\u0410.<\/strong> (1904\u0431). \u201e\u0415\u043b\u0435\u043a\u0442\u0440\u043e-\u0442\u0435\u0445\u043d\u0438\u0447\u0435\u0441\u043a\u043e \u043e\u0442\u0434\u0435\u043b\u0435\u043d\u0438\u0435 \u043d\u0430 \u0444\u0430\u0431\u0440\u0438\u043a\u0430 \u0437\u0430\n\u0432\u0435\u043b\u043e\u0441\u0438\u043f\u0435\u0434\u0438 \u201e\u041e\u0440\u0438\u0435\u043d\u0442\u201c.&nbsp; \u0421\u0430\u043c\u043e \u0430\u0437 \u0432 \u0411\u044a\u043b\u0433\u0430\u0440\u0438\u044f\n\u043f\u0440\u043e\u0434\u0430\u0432\u0430\u043c \u043d\u0430\u0439-\u043f\u0440\u043e\u0447\u0443\u0442\u0438\u0442\u0435 \u0432 \u0441\u0432\u0435\u0442\u0430 \u0438\u0441\u0442\u0438\u043d\u0441\u043a\u0438 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u0438\u201c (\u0440\u0435\u043a\u043b\u0430\u043c\u0430 \u043d\u0430 \u041c\u0430\u043a\u0441 \u0412\u0435\u0431\u0435\u0440,\n\u0420\u0443\u0441\u0435). \u0432. \u0412\u0435\u0447\u0435\u0440\u043d\u0430 \u043f\u043e\u0449\u0430, \u0433. V, \u2116 901, 25 \u044f\u043d\u0443\u0430\u0440\u0438 1904 [B.A. (1904b).\n\u201eElektro-tehnichesko otdelenie na fabrika za velosipedi \u201eOrient\u201c.&nbsp; Samo az v Balgariya prodavam nay-prochutite v\nsveta istinski gramofoni\u201c (reklama na Maks Veber, Ruse). v. Vecherna poshta, g.\nV, \u2116 901, 25 yanuari 1904]<\/p>\n\n\n\n<p><strong>\u0411.\u0410.<\/strong> (1904\u0432). \u201e\u0413\u0440\u0430\u043c\u043e\u0444\u043e\u043d \u043d\u0430 Deutsche Grammophon Gesellschaft \u0435\n\u043d\u0430\u0439-\u0443\u0441\u044a\u0432\u044a\u0440\u0448\u0435\u043d\u0441\u0442\u0432\u0430\u043d\u0438\u044f\u0442 \u0432 \u0446\u0435\u043b\u0438\u044f \u0441\u0432\u044f\u0442, \u043a\u043e\u0439\u0442\u043e \u0433\u043e\u0432\u043e\u0440\u0438, \u0438\u0433\u0440\u0430\u0435, \u0441\u043c\u0435\u0435 \u0441\u0435 \u0438 \u043f\u0435\u0435 \u043d\u0430\n\u0432\u0441\u0438\u0447\u043a\u0438 \u0435\u0437\u0438\u0446\u0438 \u043d\u0430 \u0441\u0432\u0435\u0442\u0430, \u043c\u0435\u0436\u0434\u0443 \u043a\u043e\u0438\u0442\u043e \u0438 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u201c (\u0440\u0435\u043a\u043b\u0430\u043c\u0430 \u043d\u0430 \u0412. \u0413\u0440\u0430\u0443\u0435\u0440, \u0421\u043e\u0444\u0438\u044f).\n\u0432. \u0412\u0435\u0447\u0435\u0440\u043d\u0430 \u043f\u043e\u0449\u0430, \u0433. V, \u2116 1007, 14 \u043c\u0430\u0439 1904 [B.A. (1904v). \u201eGramofon na Deutsche\nGrammophon Gesellschaft e nay-usavarshenstvaniyat v tseliya svyat, koyto\ngovori, igrae, smee se i pee na vsichki ezitsi na sveta, mezhdu koito i\nbalgarski\u201c (reklama na V. Grauer, Sofiya). v. Vecherna poshta, g. V, \u2116 1007, 14\nmay 1904]<\/p>\n\n\n\n<p><strong>\u0411.\u0410.<\/strong> (1904\u0433). \u201e\u041d\u0430 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u043e\u0432\u0438\u044f \u043f\u043b\u043e\u0449\u0430\u0434 \u0444\u0438\u0440\u043c\u0430\u0442\u0430 \u0413\u0440\u0430\u0443\u0435\u0440 \u0435 \u043e\u0442\u043a\u0440\u0438\u043b\u0430\n\u0435\u0434\u0438\u043d \u043e\u0433\u0440\u043e\u043c\u0435\u043d \u0441\u043f\u0435\u0446\u0438\u0430\u043b\u0435\u043d \u043c\u0430\u0433\u0430\u0437\u0438\u043d \u0437\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u0438\u2026\u201c (\u0440\u0435\u043a\u043b\u0430\u043c\u0430 \u043d\u0430 \u0412. \u0413\u0440\u0430\u0443\u0435\u0440, \u0421\u043e\u0444\u0438\u044f). \u0432.\n\u0412\u0435\u0447\u0435\u0440\u043d\u0430 \u043f\u043e\u0449\u0430, \u0433. V, \u2116 1035, 12 \u044e\u043d\u0438 1904 [B.A. (1904g). \u201eNa Aleksandroviya\nploshtad firmata Grauer e otkrila edin ogromen spetsialen magazin za\ngramofoni\u2026\u201c (reklama na V. Grauer, Sofiya). v. Vecherna poshta, g. V, \u2116 1035,\n12 yuni 1904]<\/p>\n\n\n\n<p><strong>\u0411.\u0410.<\/strong> (1909). \u201e\u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0438\u0442\u0435 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0438 \u0444\u0430\u0431\u0440\u0438\u043a\u0438\n\u041b\u043e\u043d\u0434\u043e\u043d-\u041f\u0430\u0440\u0438\u0436-\u0411\u0435\u0440\u043b\u0438\u043d\u2026\u201c (\u0440\u0435\u043a\u043b\u0430\u043c\u0430 \u043d\u0430 \u041c. \u0412\u0435\u0431\u0435\u0440, \u0420\u0443\u0441\u0435-\u0421\u043e\u0444\u0438\u044f). \u0432. \u0412\u0435\u0447\u0435\u0440\u043d\u0430 \u043f\u043e\u0449\u0430, \u0433.\n\u0406\u0425, \u2116 2636, 6 \u044f\u043d\u0443\u0430\u0440\u0438 1909 [B.A. (1909a). \u201eMezhdunarodnite gramofonni fabriki\nLondon-Parizh-Berlin\u2026\u201c (reklama na M. Veber, Ruse-Sofiya). v. Vecherna poshta,\ng. \u0406H, \u2116 2636, 6 yanuari 1909]<\/p>\n\n\n\n<p><strong>\u0414\u0410\u0410 \u2013 \u0426\u0414\u0410, \u0414\u0410 \u2013 \u041f\u0415\u0420\u041d\u0418\u041a<\/strong>, \u0444\u043e\u043d\u0434 1038, \u043e\u043f\u0438\u0441 2, \u0430.\u0435. 27, \u043b. 7.&nbsp; \u0411\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438 \u0432\u043e\u0439\u043d\u0438\u0446\u0438 \u0441\u043b\u0443\u0448\u0430\u0442 \u043d\u0430 \u0440\u0443\u043c\u044a\u043d\u0441\u043a\u0438\u044f \u0444\u0440\u043e\u043d\u0442\n\u043f\u0440\u0438 \u0440. \u0421\u0435\u0440\u0435\u0442 \u043f\u043e \u0432\u0440\u0435\u043c\u0435 \u043d\u0430 \u041f\u044a\u0440\u0432\u0430\u0442\u0430 \u0441\u0432\u0435\u0442\u043e\u0432\u043d\u0430 \u0432\u043e\u0439\u043d\u0430. 18 \u043c\u0430\u0439 1917 \u0433. [DAA \u2013 TSDA, DA\n\u2013 PERNIK, fond 1038, opis 2, a.e. 27, l. 7.&nbsp;\nBalgarski voynitsi slushat na rumanskiya front pri r. Seret po vreme na\nParvata svetovna voyna. 18 may 1917]<\/p>\n\n\n\n<p><strong>\u041f\u0410\u041b\u0418\u040b<\/strong>, \u041c\u0438\u0442\u0435 \u0402. (1913). \u0418\u043b\u0443\u0441\u0442\u0440\u043e\u0432\u0430\u043d\u0438 \u0446\u0435\u043d\u043e\u0432\u043d\u0438\u043a \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u0430 (\u0433\u043e\u0432\u043e\u0440\u0435\u045b\u0438\u0445\n\u043c\u0430\u0448\u0438\u043d\u0430) \u0438 \u0441\u043f\u0438\u0441\u0430\u043a \u043d\u0430\u0458\u043d\u043e\u0432\u0438\u0458\u0438\u0445 \u0441\u0440\u043f\u0441\u043a\u0438\u0445 \u043f\u043b\u043e\u0447\u0430. \u041f\u0430\u043d\u0447\u0435\u0432\u043e: \u0422\u0440\u0433\u043e\u0432\u0438\u043d\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u0430 \u041f\u0430\u043b\u0438\u045b\n[Pali\u045b,&nbsp; Mite \u0402. (1913) Ilustrovani\ntsenovnik gramofona (govore\u045bih mashina) i spisak na\u0458novi\u0458ih srpskih plocha.\nPanchevo]. Online: <a href=\"http:\/\/digitalna.nb.rs\/sf\/NBS\/MuzikaIZvuk\/katalozi_izdavackih_kuca\">http:\/\/digitalna.nb.rs\/sf\/NBS\/MuzikaIZvuk\/katalozi_izdavackih_kuca<\/a>&nbsp; [accessed on 23. 06. 2022]<\/p>\n\n\n\n<p><strong>GRAMOPHON<\/strong> (1908). \u0413\u0440\u0430\u043c\u043e\u0444\u043e\u043d. \u0412\u0440\u0435\u043c\u0435\u043d\u0435\u043d \u043b\u0438\u0441\u0442 \u043d\u0430 \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438. \u041d\u043e\u0432\u0438\n\u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043e\u0432\u0438 \u043f\u043b\u043e\u0447\u0438 \u0437\u0430 \u043c\u0430\u0439-\u0434\u0435\u043a\u0435\u043c\u0432\u0440\u0438&nbsp; 1908.\n\u0413\u0435\u043d\u0435\u0440\u0430\u043b\u043d\u043e \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0438\u0442\u0435\u043b\u0441\u0442\u0432\u043e \u0438 \u0444\u0430\u0431\u0440\u0438\u0447\u0435\u043d \u0441\u043a\u043b\u0430\u0434 \u0437\u0430 \u0411\u044a\u043b\u0433\u0430\u0440\u0438\u044f \u041c. \u0412\u0435\u0431\u0435\u0440, \u0420\u0443\u0441\u0435 \u0438 \u0421\u043e\u0444\u0438\u044f.\n[Gramofon. Vremenen list na balgarski. Novi gramofonovi dvoyni plochi za\nmay-dekemvri 1908. Generalno predstavitelstvo i fabrichen sklad za Balgariya M.\nVeber, Ruse i Sofiya]<\/p>\n\n\n\n<p><strong>GRAMOPHON<\/strong> (1909). Gramophone Company. \u0412\u0440\u0435\u043c\u0435\u043d\u0435\u043d \u043b\u0438\u0441\u0442 \u043d\u0430 \u043d\u043e\u0432\u0438 \u043f\u043b\u043e\u0447\u0438 \u0437\u0430\n\u043c\u0435\u0441\u0435\u0446 \u044f\u043d\u0443\u0430\u0440\u0438\u0439 1909 [Gramophone Company. Vremenen list na novi plochi za mesets\nyanuariy 1909]<\/p>\n\n\n\n<p><strong>KELLY<\/strong>, Alan (2021). Kelly On-line Database. Online:\nhttps:\/\/www.kellydatabase.org\/Entry.aspx [accessed on 30. 05. 2022]<\/p>\n\n\n\n<p><strong>PATH\u00c9<\/strong>, \u211656979. \u041f\u0430\u0439\u0434\u0443\u0448\u043a\u043e \u0420\u0443\u0441\u0435\u043d\u0441\u043a\u043e \u2013 \u041c\u0443\u0437\u0438\u043a\u0430\u0442\u0430 \u043d\u0430 VI. \u041f\u043e\u043b\u043a. Path\u00e9,56979 G.R. No. 16822. [Paydushko Rusensko \u2013 Muzikata na VI. Polk. Path\u00e9, 56979G.R. No. 16822].<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-background has-pale-cyan-blue-background-color\"><strong>\u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 \u0414\u0438\u043c\u043e\u0432<\/strong> [\u0434-\u0440 (1999); \u0434\u043d (2018)] \u0435 \u043f\u0440\u043e\u0444\u0435\u0441\u043e\u0440\n\u0432 \u0421\u0423 \u201e\u0421\u0432. \u041a\u043b\u0438\u043c\u0435\u043d\u0442 \u041e\u0445\u0440\u0438\u0434\u0441\u043a\u0438\u201c, \u0424\u0430\u043a\u0443\u043b\u0442\u0435\u0442 \u043f\u043e \u0436\u0443\u0440\u043d\u0430\u043b\u0438\u0441\u0442\u0438\u043a\u0430 \u0438 \u043c\u0430\u0441\u043e\u0432\u0430 \u043a\u043e\u043c\u0443\u043d\u0438\u043a\u0430\u0446\u0438\u044f.\n\u0420\u044a\u043a\u043e\u0432\u043e\u0434\u0438\u0442\u0435\u043b \u043d\u0430 \u0438\u0437\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u0442\u0435\u043b\u0441\u043a\u0430 \u0433\u0440\u0443\u043f\u0430 \u201e\u0415\u0442\u043d\u043e\u043c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0433\u0438\u044f\u201d \u0432 \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442\u0430 \u0437\u0430\n\u0438\u0437\u043a\u0443\u0441\u0442\u0432\u043e\u0437\u043d\u0430\u043d\u0438\u0435 \u043f\u0440\u0438 \u0411\u0410\u041d. \u0410\u0432\u0442\u043e\u0440 \u043d\u0430 \u043d\u0430\u0434 200 \u043d\u0430\u0443\u0447\u043d\u0438 \u0438\u0437\u0441\u043b\u0435\u0434\u0432\u0430\u043d\u0438\u044f \u0438 \u0441\u0442\u0430\u0442\u0438\u0438, \u0441\u0440\u0435\u0434\n\u043a\u043e\u0438\u0442\u043e \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0438\u0442\u0435 \u201cE\u0442\u043d\u043e\u043f\u043e\u043f\u0431\u0443\u043c\u044a\u0442\u201d (2001); \u201e\u0414\u043e\u0431\u0440\u0443\u0434\u0436\u0430: \u043f\u0430\u043c\u0435\u0442 \u0438 \u043f\u0435\u0441\u0435\u043d\u201d (2012);\n\u201c\u041c\u0443\u0437\u0438\u043a\u0430\u0442\u0430 \u0437\u0430 \u043d\u0430\u0440\u043e\u0434\u0430 \u043d\u0430 \u043c\u0435\u0434\u0438\u0439\u043d\u0438\u044f \u0444\u0440\u043e\u043d\u0442\u201d (2019) \u0438 \u0434\u0440.; \u0441\u044a\u0430\u0432\u0442\u043e\u0440 \u0441 \u041b\u043e\u0437\u0430\u043d\u043a\u0430 \u041f\u0435\u0439\u0447\u0435\u0432\u0430\n\u043d\u0430 \u043a\u043d\u0438\u0433\u0438\u0442\u0435 \u201e\u0417\u0443\u0440\u043d\u0430\u0434\u0436\u0438\u0439\u0441\u043a\u0430\u0442\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u044f \u0432 \u042e\u0433\u043e\u0437\u0430\u043f\u0430\u0434\u043d\u0430 \u0411\u044a\u043b\u0433\u0430\u0440\u0438\u044f\u201d (2002 \u0433.); \u201e\u0421 \u0445\u043e\u0440\u043e \u0438\n\u043f\u0435\u0441\u0435\u043d, \u0441 \u043f\u0435\u0440\u043e \u0438 \u0441\u043b\u043e\u0432\u043e (120 \u0433. \u043e\u0442 \u0440\u043e\u0436\u0434\u0435\u043d\u0438\u0435\u0442\u043e \u043d\u0430 \u0420\u0430\u0439\u043d\u0430 \u041a\u0430\u0446\u0430\u0440\u043e\u0432\u0430)\u201d (2021 \u0433.) \u0438 \u0434\u0440.\n\u041e\u0431\u043b\u0430\u0441\u0442\u0438 \u043d\u0430 \u043d\u0430\u0443\u0447\u043d\u0438 \u0438\u043d\u0442\u0435\u0440\u0435\u0441\u0438 \u2013 \u0441\u043e\u0446\u0438\u0430\u043b\u043d\u0438 \u0438 \u0445\u0443\u043c\u0430\u043d\u0438\u0442\u0430\u0440\u043d\u0438 \u043d\u0430\u0443\u043a\u0438, \u043c\u0435\u0434\u0438\u0439\u043d\u0438 \u0438\u0437\u0441\u043b\u0435\u0434\u0432\u0430\u043d\u0438\u044f,\n\u0435\u0442\u043d\u043e\u043c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0433\u0438\u044f, \u0430\u043d\u0442\u0440\u043e\u043f\u043e\u043b\u043e\u0433\u0438\u044f \u043d\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u0430\u0442\u0430 \u0438 \u043f\u043e\u043f\u0443\u043b\u044f\u0440\u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430, \u043c\u0435\u0434\u0438\u0438 \u0438\n\u0437\u0430\u043f\u0438\u0441\u0430\u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430, \u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442 \u0438 \u043c\u0443\u0437\u0438\u043a\u0430, \u043c\u0443\u0437\u0438\u043a\u0430\u043b\u043d\u0438 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u0438 \u0438 \u043c\u0430\u043b\u0446\u0438\u043d\u0441\u0442\u0432\u0430, \u043c\u0443\u0437\u0438\u043a\u0430\n\u043d\u0430 \u0411\u0430\u043b\u043a\u0430\u043d\u0438\u0442\u0435 \u0438 \u0434\u0440.<\/p>\n\n\n\n<p class=\"has-background has-pale-cyan-blue-background-color\"><strong>Ventsislav Dimov<\/strong> [PhD (1999); DSc (2018)]: Professor\nat Sofia University \u2018St. Kliment Ohridski\u2019, Faculty of Journalism and Mass\nCommunication . Head of the research group \u2018Ethnomusicology\u2019 at the Institute\nof Art Studies, BAS. Author of over 200 scientific studies and articles, author\nof the monographs \u201cEthnopopbum (The Ethnopopboom)\u201d (2001); \u201cDobrudzha: pamet i\npesen (Dobrudzha: memory and song)\u201d (2012); \u201cMuzikata za naroda na mediyniya\nfront (Mekata vlast na narodnata i populyarna muzika v Sotsialisticheska\nBulgariya) (Music for the people on the media front (The soft power of peoples\nand popular music in Socialist Bulgaria)\u201d (2019) and others; co-author with\nLozanka Peycheva of the books \u201cThe Zurna Tradition in Southwest Bulgaria\u201d\n(2002); \u201cWith horo dance and song, with a pen and word (120th anniversary of\nthe birth Rayna Katsarova)\u201d (2021). Areas of research interests \u2013 social\nsciences and humanities, media studies, ethnomusicology, anthropology of\ntraditional and popular music, media and recorded music, identity and music,\nmusical traditions of ethnocultural communities and minorities, music in the\nBalkans, etc.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 \u0414\u0438\u043c\u043e\u0432 TO SOME POSSIBLE INTERPRETATIONS OF THE GRAMOPHONE RECORD AS A MEDIA Ventsislav Dimov \u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433\/Medialog 11\/2022ISSN 2535-0846\ufeff How to Cite:&nbsp;\u0414\u0438\u043c\u043e\u0432, \u0412\u0435\u043d\u0446\u0438\u0441\u043b\u0430\u0432 (2022). \u041a\u044a\u043c \u043d\u044f\u043a\u043e\u0438 \u0432\u044a\u0437\u043c\u043e\u0436\u043d\u0438 \u0438\u043d\u0442\u0435\u0440\u043f\u0440\u0435\u0442\u0430\u0446\u0438\u0438 \u043d\u0430 \u0433\u0440\u0430\u043c\u043e\u0444\u043e\u043d\u043d\u0430\u0442\u0430 \u043f\u043b\u043e\u0447\u0430 \u043a\u0430\u0442\u043e \u043c\u0435\u0434\u0438\u044f. \u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433,&nbsp;11\/2022, \u0441. 45-75. https:\/\/www.medialog-bg.com\/?p=4372 [Dimov, Ventsislav (2022). To some possible interpretations of the gramophone record as a media. Medialog, 11\/2022, pp. 45-75] \u0420\u0435\u0437\u044e\u043c\u0435: [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4372","post","type-post","status-publish","format-standard","hentry","category-1"],"_links":{"self":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4372","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4372"}],"version-history":[{"count":7,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4372\/revisions"}],"predecessor-version":[{"id":4401,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4372\/revisions\/4401"}],"wp:attachment":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4372"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4372"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4372"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}