Dimitrije Buzarovski, Trena
Jordanoska Macedonian Music Culture During World War Two Revisited |
Abstract Existing musicological papers
concerned with Macedonian music culture during
World War Two usually skip the period between 1941
and 1943 which is marked by the German/Bulgarian
occupation. A pilot research project was created
with the goal to review the articles in the
newspapers published during World War Two in Macedonia
and to check if there are missing or contradictory
data. Keywords Macedonian Music, Institutions,
Choirs, Education, World War Two The time distance opens opportunities
for undertaking a relatively unbiased analysis,
thus eliminating the influence of political and
social attitudes. Having in mind that Macedonia
was an administrative unit (“Vardarska Banovina”)
in the Kingdom of Yugoslavia (until 1941), then
divided, i.e. annexed to Bulgaria and Albania
(1941–1944),
and at the end proclaimed as an independent
republic in the new Federative People’s Republic
of Yugoslavia (ASNOM 1944), we assumed that these
political changes influenced the coordinates of
Macedonian music culture.
We would like to stress that this period
finalized the process of westernization of
Macedonian music culture, which started at the end
of the nineteenth century and was particularly
intensified during and after the Balkan wars
(1911). The oriental features of the Ottoman music
culture were gradually replaced with occidental
genres, tunes, harmony, instruments and
particularly music education. The first traces can
be found at the end of the nineteenth and
beginning of the twentieth century, with the
appearance of instruments of Western origin, as
well as the first brass bands, the guitar, the
mandolin, and the piano. Unfortunately, there is
no evidence when the first piano, or pianos,
arrived in Macedonia (Islam 2011: 3). The piano symbolizes the shift
towards a Western tradition, and until now was
never a member of the ensembles which play folk or
traditional music in Macedonia. The German and
Bulgarian occupation of Macedonia during World War
One, when the new western education was
introduced, intensified the acculturation
processes, which continued in the following
“Yugoslavian” period between the wars, where
again, music education was among the main windows
for replacement of the monodic mekams and
usuls with the western tonal and
homophonic/harmonic music systems. Macedonian
music culture received its final western shape
immediately at the end of World War Two and
subsequent years. It was paralleled by the
formation of the Macedonian Republic, as a part of
the Yugoslav Federation, and the appearance of the
typical representatives of the western music
culture: the opera and the ballet, and the
philharmonic orchestra. Consequently, Macedonian musicology made its first
modest steps in the late 1950s and the beginning
of the 1960s, with the first western educated
musicologists Dragoslav Ortakov (a graduate of the
Belgrade Faculty of Music), and the three
Ljubljana-educated musicologists: Branko Gligorov,
Vlado Chuckov and Dragan Bojadziev. The first
official history of Macedonian music appeared in
1982 by Dragoslav Ortakov (Music Art in
Macedonia – Muzichkata umetnost vo
Makedonija), followed by the instruction
book by Sotir Golabovski, History of
Macedonian Music (Istorija na
makedonskata muzika) from 1999. The next
important step is the large project of the
Macedonian Academy of Science and Arts, The
Music on the Macedonian Soil (Muzikata
na pochvata na Makedonija), which addresses
to the history of Macedonian music through a
collection of articles (Stardelov, Ortakov &
Buzarovski, eds. 1999; 2004). But in all existing musicological
reviews related to the period of World War Two, we
can see a bypass from the end of the 1930s
directly to the revolutionary struggle and partisan
songs (Karakash 1970; Ortakov 1974: 516; 1982;
2004; Proshev 1986; Golabovski 1999). One can get
the impression that music culture and music life
were eliminated from the beginning of World War
Two until the music events related to the
activities of partisans at the liberated
territories. This is evident in the biographies of
the Macedonian composers from the observed period,
and particularly in the biographies of the
so-called composer’s “petorka”, which is
considered a founder of modern Macedonian music
culture (Jordanoska & Buzarovski this edition). Having in mind that until recently
Macedonian music culture was predominantly
analyzed through the activities of the composers
of the “artistic” music, the fact that there are
missing or contradictory data about their
activities during World War Two provided a
sufficient reason for launching of this project.
This was particularly important
when we have in mind that there is very little
research devoted to the performers, and the only
other data are the monographs published during the
celebration of the anniversaries of the major
music institutions in Macedonia. This was provocative enough to design
a pilot research regarding the music culture
during World War Two. In our research hypothesis,
we assumed that there are missing and
contradictory data from two major reasons: – political i.e. ideological,
and – ethnic (having in mind the
Bulgarian attempts to assimilate Macedonia in an
ethnic, territorial, cultural, and language
sense). Our decision to undertake a pilot
project was result of the complexity of the
researched subject. It is obvious that, from a
methodological point of view, we approached the
problem very carefully, trying to avoid some of
the mistakes of the past. Once we have enough
proof for our assumptions, more profound and
complex research should be accomplished. Also
having in mind the complexity of the subject, we
decided that Trena Jordanoska will do a pilot
survey regarding the activities of the Macedonian
composers in the observed period, while this paper
will be dealing with the culture in its integrity.
Of particular importance were the
democratization processes which followed the fall
of communism, and the formation of the independent
Republic of Macedonia (1991) which enabled a
de-ideologized approach to the observed events.
We assumed that it would be very difficult
to collect material artifacts such as scores,
programs, posters etc., as probably they were
hidden or destroyed in the post war years. That is
why we decided that as a starting point we could
only use the newspapers published in Macedonia
during the World War Two. Thus we could compare
the results from our research with the published
papers in the Macedonian musicology.
For this purpose, and having in mind that
this is only a pilot research, we decided to
select information only from one newspaper i.e.
the newspaper Celokupna B’lgarija (The
Whole Bulgaria – the title clearly points out
to the goal of annexation of Macedonian territory)
which was the leading printed media in Skopje from
1941–1944. We checked the articles
related to music in the months July, August and
September 1942, assuming that during this period
there were no larger military activities, which
could have influenced the events and the structure
of music life. We did a rough search through the
other issues of 1941/1942, too.
During the formulation of our research
hypothesis we recalled a private conversation with
the founder of the Macedonian ethnomusicology
Zhivko Firfov (1906–1984) in the late 1970s, where he
referred to the influences of the German and
Bulgarian music education in the Macedonian music
folklore. He mentioned that he was an elementary
school student during World War One. The education
in the schools was organized by the Bulgarians, as
he stated, and it had a lot of music. In fact, he
said that majority of the classes were devoted to
learning Bulgarian and German songs. In the 1970s
he found these songs in the repertoire of the
traditional music amateur societies in the smaller
cities in Macedonia, as a part of the urban
folklore, with adjusted tunes to the newly added
Macedonian lyrics. Unfortunately, he did not point
to a particular song, only that one of the groups
was from the city of Resen. We expected that similarly, education
and particularly music education will be the focal
points of the assimilation activities carried out
by the Bulgarian government. The main subject of
the instructions in the schools was B’lgaroznanie
(knowing Bulgaria) which comprised a large
portion of music (Terzioski 1974: 81, 88, 89, 106,
107). In accordance with the instructions from the
Bulgarian Ministry of Education “every day at
least half an hour should be devoted to singing,
with a special accent to the Bulgarian national
songs” (ibid.: 81). Macedonian
songs were also included but there was a
recommendation that they should be adjusted to
Bulgarian rhythms (ibid.: 89). The
repertoire included the Bulgarian anthem Shumi
Marica and the Anthem of the Tsar, the songs about Cyrilus and Methodius,
the Bulgarian national songs Gordej
se, majko Bugarijo and Zhiv e toj, zhiv
e, and the marches
Velik e nashiot vojnik, Titane
Kalemanski and Velik zavet, all with
the same purpose to induce Bulgarian ethnic
feelings (ibid.). In addition, the
teachers were obliged to “determine some time to
the religious songs, in order to reinforce the
religous feelings of the students” (ibid.). As most effective way
for use of the songs as a didactic means were the
student choirs: There was a
recommendation that every school should have a
choir which should be used in educational
purposes, and this was particularly important for
the schools in the villages, having in mind that
the other forms can not access the peasants due to
their low cultural level. (ibid.:
107) One can also expect that more serious
music activities would have been performed in the
higher classes of the high
schools. This was confirmed by the article related
to the choral concert marking the annual
anniversary of the Skopje High Schools: The celebration started with
the performance of the national anthem and the
Anthem of the Tsar, performed by the All-Girls
High School choir conducted by Mr. Stefan Gajdov,
followed by the selected poetry and music evening.
The First All-Boys High School choir conducted by
Mr. Aleksandr Motzev performed the choral songs
“Trakija”, “Do moeto prvo libe”, “Moreto sni” and
the popular song for Mile pop Jordanov. As
soloists were senior classes students Dimitar
Krangov, Vladimir Atanasov and Roman Lechev...
After that we listen to the performance of the
Second All-Boys High School choir and the
conductor Mr. Trajko Prokopiev, who also performed
several beautiful songs. (Celokupna B’lgarija
1942, no. 332: 3)
When reviewing the articles we
had in mind that the newspaper we used, was a
central propaganda tool both in a political and
ethnic sense. It is obvious from the first glance of
the title page always filled with articles about
the “successes of the German army at the
different battle fronts”. In our case, we expected that in
addition to the propaganda, the newspaper will be
used to promote the assimilation policy of the
Bulgarian government, particularly against the
Serbian influence. This is very obvious in the
article about the concert of the choirs of the All-Girls and All-Boys High Schools, conducted by Stefan Gajdov and
Aleksandr Motzev in Sofia, where the author
concludes that “thanks to the songs of the Macedonian
Bulgarians, we are witnessing the fast return of
the young generation to the pristine and correct
native language”
(ibid. no. 355: 4). This article with the title
“Makedonskata pesen” (“The Macedonian song”)
clearly states the intent of the author to launch
the thesis that the song, and particularly the
folk songs were the area which helped “the
Macedonian Bulgarians” to survive the extremely
hard and difficult life during the previous
regimes (ibid.). We can conclude that choral practice
was favorable to instrumental practice from
several reasons. First, choral singing did not
require any additional investments for buying and
maintenance of instruments (in comparison to
orchestral, or chamber music practice); then, it
enables mass participation; and, at the end, it
was in continuity with the spiritual choral
practice, which was precedent to the appearance of
the secular choirs. In the absence of wide use of
mass media (the radio was a luxury product),
singing was a very popular form of music practice.
In the interview with Leta Bardzieva, the famous
folk singer from the group Bapchorki, (recorded in
the IRAM documentary movie Bapchorki), she states
that young girls were singing almost all the day,
going to the fields, during the work in the
fields, or in the houses – during work and the
entertainment (Buzarovski 2002). Consequently,
choral practice was very adequate for use of the
masses in cultural and musical sense. With the
introduction of the new repertoire, and homophonic
and polyphonic structures, choral practice took a
major role in the westernization of the Macedonian
music culture. Together with the cultural aspect,
equally important was the social aspect of mass
gatherings. Before, during and after World War
Two, all social players considered mass gatherings
of the choral practice as an important opportunity
not only for the distribution of ideas, by also
for the recruitment of human resources. Thus even
before World War Two it is possible to observe the
establishment of the so-called “workers’ choirs”
formed around the workers’ union, bigger factories
or enterprises (such as tobacco), as well as the
citizens’ choirs. There are a lot of quotations
that between World War One and World War Two and
during the war, these choirs were very active in
the support of the socialist illegal activities
and recruitment of resistance fighters (Kostadinovski 1983:
40–41; Burnazovski & Trajkovski 1984: 59–62; Shuplevski 1999: 51–52; Kitan
Ivanovska 2003:
39). Thorough research is required in
order to determine the objectivity and the reality
regarding the political activities of the choirs
existing in Macedonia before and during World War
Two, the repertoire and the changes of the names
during World War Two period. In our pilot research
of Celokupna B’lgarija we found two
articles about the concert of the Georgi
Sugarev citizens’ mixed choir from Bitola,
consisted of 90 members and conducted by Todor
Skalov(ski) in Sofia in July, 1942 (no. 325: 4;
no. 339: 2). There was also an article about the Boris
Drangov choir (ibid. no. 355: 4), which in
some of the resources is related to the Vardar
and Mokranjac choirs from the previous
period (Kostadinovski 1983: 40). We have good
reasons to believe that one of these choirs was
used in the special events, as we could see a choir singing during the
visit of Tsar Boris in Skopje in 1942 (Skopie.
April… 2012). We found other controversial data
about the activities of the Boris Drangov
choir related to the establishment of the Music
School in Skopje (for example, see Ortakov 1974:
516) which adds arguments to the main hypothesis
of this paper. Coming back to the question of the
music education and politics, we expected that the
Bulgarian regime will devote special attention to
the training of the teachers. In fact, a combined
strategy was applied: sending Bulgarian teachers
to Macedonia (Terzioski 1974: 89), and sending
Macedonian teachers to Bulgaria for additional
training. For example, in the book about the
Macedonian folk violinist Nikola Galevski, the
author Mihail Beldedovski (2007: 30) mentions
Bulgarian music teacher Dimitra Lilova, sent for
this purpose in Berovo during World War Two. Danka
Firfova, later one of the leading Macedonian opera
singers, was attending these courses in 1941/1942 (Pavlovska-Shulajkovska
2006: 99, 123; 2009: 95). After a period of
teaching in Sofia, in 1942, she was appointed as a
teacher at the Veles High School and later at the
All-Girls High School in Skopje (ibid. 2006: 99;
2009: 15, 95). We
can assume that the other Macedonian music
teachers also attended some training courses in
Bulgaria.
In general, the training of the teachers
was an obvious attempt of the Bulgarian regime to
suppress the dominant Serbian influence from the
pre World War Two period, particularly as all of
the Macedonian musicians, accomplished their music
education in Belgrade Music School (Jordanoska
&
Buzarovski this edition).
At the same time, music education and the
training of the musicians played extremely
important role in the gradual oriental to
occidental transition of the Macedonian music
culture. The existing data points out that the
Ottoman music education practiced in the islahane
and the idadia, was substituted with
private music schools, until the official opening
of the Music school in Skopje in 1934, which was named Mokranjac. But
even this segment needs further clarifications as
data regarding the beginning of the instructions
is currently contradictory (for example, compare
Karakash 1970: 10; Kostadinovski 1983: 26, 40;
Ortakov 1982: 69; Proshev 1986: 51; MBUC 1995: 5;
Golabovski 1999: 106; Dzimrevski 2005: 315–317).
The same school continued to work
during the Bulgarian occupation, with an
intention to be transformed into a Music High
School with 5 years of instructions, but due to
the military activities in the late 1943, and
1944, it is unclear if there were any classes
until the liberation of Skopje and Macedonia
(Terzioski 1974: 31; Kostadinovski 1983: 40; MBUC
1995: 5). In December 1944, the newly formed
Macedonian government issued the decree for the
establishment of the Music High School. This
school was the major center for distribution of
musicians and specialized music teachers for the
next decade, particularly before the establishment
of the higher music education. In addition to the obligatory choir
activities, the educational policy of the
Bulgarian government used different forms of music
evenings, matinee – also organized by the schools.
These type of events should have been effective
means for national education of the students and
the citizens. The programs were determined by the
teachers’ councils and they were always
subordinated to the national goals... often
presented outside the schools, or transmitted
through the radio programs. (Terzioski 1974: 107)
We could not find enough data regarding the
instrumental, i.e. orchestral forms of the music
culture during World War Two period. More of the
data points out that before World War Two almost
all major cities in Macedonia had brass or wind
instruments bands, mainly gathered around the
“Sokol” societies (Dzimrevski 2005). The
“Socolanas” which were primarily designed for sports
activity, were covering also the cultural, i.e.
the musical activities, as in the absence of
concert and other public halls, in the Kingdom of
Yugoslavia they were used for larger public
events. We can only assume that occupation cut the
connection between the “Sokolana” and the music
bands, and the musicians probably went playing in
the military or other smaller bands (for
entertainment, at wedding ceremonies etc.).
Consequently, additional research is needed to
determine what happened with the musicians such as
Metodi Dokuzov (Mitevska 2004: 235), Ilija
Todorovski (Karakash 1970: 43; Buzarovski 2011),
Ilija Nikolovski-Luj (Karakash 1970: 49) and
Gligor Smokvarski (who, for example,
was trained at the Military Music School in
Vrshac, before World War Two, ibid.: 52). Almost all the issues of Celokupna
B’lgarija which we surveyed had numerous
photographs of Macedonians in national costumes.
In addition, we found several articles related to
the music folklore, such as the one about the
wedding custom from Galichnik (Celokupna
B’lgarija 1942, no. 331: 4). As we have
already mentioned the music folklore was
considered a very important means for the
ideological, political and ethnic influence.
Still, the division between folklore and
artistic music (reflected in the division
between ethnomusicology and musicology), was –
and in most of the educational systems of the
Balkan still is – the major prism for
observation of music culture, neglecting
particularly the popular music genres.
Among the other articles of the surveyed
period we found several about the concert tour of
the Tsar’s philharmonic orchestra, in Kumanovo,
Shtip, Veles, Ohrid and Skopje, in August and
September 1942 (ibid. no. 373: 3; 376: 3; 377: 1;
384: 3).
The articles inform the readers about the
conductor Sasha Popov pointing out – in the same
propaganda manner – that the audience was
thrilled by the performances of the anthems at
the beginning of the program. However, there are
no indications about the other repertoire
performed at these concerts (ibid. no.
384: 3).
In the article about the concert in Kumanovo, it
is mentioned that the citizens will have an
opportunity to hear a philharmonic orchestra
after 25 years, which indicates that there could
have been similar performance during World War
One (ibid. no. 373: 3). Some of the
concerts were organized at the central squares (for
example, Ohrid), while the two concerts in Skopje took
place in the National Theater (ibid.
no. 376: 3).
Among the other events which randomly
appeared in our pilot research, it is worth
mentioning the performance of the operetta S’n’t
na Violeta by the Princess Maria Luisa
Women’s Charity Association from Skopje in the
National Theatre in Skopje (ibid. no. 239:
4), and
the tour of the German military band (ibid.
no. 396: 4).
Particularly interesting additional
information is given in the announcements of the
Radio Skopje program, where music played a major role. As the recording
technology of the period allowed only use of
records, we expected that there might have been
live music performances included in the program.
The regular
announcements pointed out to two ensembles: the
Chamber radio orchestra (ibid.
no. 370: 2)
and Entertainment orchestra (Salonski orkestar)
(ibid. no. 384: 2).
Unfortunately, there is no information about the
repertoire, musicians, and the conductors, i.e.
the leaders of the orchestra. We can not be sure
if these orchestras existed in Skopje at all, or
in fact, were live performances from Sofia.
Assuming that it was the same building where,
after World War Two, Radio Skopje continued to
broadcast the program, we can recall that there
was a small hall that could have been used for
such purposes. These
announcements are the only references about
popular music during the World War Two period. The program of Radio Skopje had a
very strict schedule, divided in blocks for: –
folk music: songs and dances, and programs
devoted to the different Macedonian regions (we
could find again the wedding customs from
Galichnik, ibid. no. 331: 2); – popular music: music for
entertainment, concert of the Entertainment
orchestra, light and dance music, Bulgarian and
foreign music; – classical music: mostly in the
evening hours with opera, recitals, orchestral
works, transmission of concert (for example,
electrophonosyncronized concert, ibid. no. 352: 2)
etc.
Having in mind that the information we
collected from the newspaper Celokupna
B’lgarija was censored and biased, i.e.
instrumental in propaganda sense, we expect that
other important segments of the music culture are
missing, such as the tradition of the Jewish
community in Macedonia (see Spanish romances
from Bitola, Romano [1985] 2012).
Another very poorly presented area is the
spiritual music with occasional articles such as
the formation of a Brakja Miladinovi
church choir (Celokupna B’lgarija 1942, no. 352:
2) and the information about the liturgies in the
morning Radio program (ibid. no. 325: 2). In conclusion, we might say that our
pilot research entirely demonstrated the need for
an extensive project which will revisit and
re-evaluate the entire music culture during World
War Two, addressing to the question of music
genres, music institutions and music education. We
have also confirmed that the democratization
processes which followed the period after the fall
of communism, enabled more opened, unbiased and
realistic approach to the historical events and
the sensitive social, political and ethnic issues. We only hope that the enthusiastic
musicologists in the future will have better
access to all Balkan archives, which could
contribute to an improved understanding and
respect of the complex and inter-related Balkan
history of cultures.
Summary
Democratizaion processes that followed the
fall of communism, and the establishment of the
independent Republic of Macedonia (1991) have
assisted the creation of a methodological approach
that enables a de-ideologized observation of
events from the past. Having in mind that existing
musicological papers concerned with the Macedonian
music culture during World War Two usually skip
the period between 1941 and 1943, marked by the
German/Bulgarian occupation of Macedonia, we
undertook a pilot research project with the aim of
reviewing articles in
the newspapers published during World War Two in
Macedonia and checking if political issues influenced the musicological
surveys.
The pilot research reviewed the articles in
the newspaper Celokupna B’lgarija during three months in 1942.
Despite the obviously censored and biased approach
of the newspaper – particularly instrumental in
the Bulgarian policy of the assimilation of the
Macedonian territory in a political and ethnic
sense – the data about the numerous music events
entirely demonstrated the need for an extensive
project which will revisit and re-evaluate the
music culture during World War Two in its integral
form, addressing the question of music genres,
music institutions and music education. The
methodological frames should be based on a
meticulous scrutiny of all data, avoiding the
misinterpretations coming from biased political,
ideological, cultural or ethnic perspectives.
References: Beldedovski,
Mihail: Nikola Galevski: So violina do
svetlinata. Direkcija za kultura i umetnost,
Skopje 2007. Burnazovski,
Boris & Branislav Trajkovski: Panche
Peshev revolucioner i muzichar. Uchilishte
za osnovno obrazovanie “Panche Peshev” – Kumanovo
1984. Buzarovski,
Dimitrije: Documentary movie Bapchorki.
IRAM, Skopje 2002. Buzarovski,
Dimitrije: Documentary movie Jordan Canevski.
IRAM, Skopje 2011. Dzimrevski,
Borivoje: Gradska instrumentalna muzichka
tradicija vo Makedonija 1900–1941. Institut
za folklor “Marko Cepenkov” – Skopje 2005. Golabovski,
Sotir: Istorija na makedonskata muzika.
Prosvetno delo, Skopje 1999. Islam,
Aida: Makedonskata pijanistichka umetnost i
pedagogija. Pedagoshki fakultet “Sv. Kliment
Ohridski”, Skopje 2011. Karakash,
Branko: Muzichkite tvorci vo Makedonija.
Makedonska kniga, Skopje 1970. Kitan
Ivanovska, Margarita: Zhivoten i tvorechki
letopis. In: Todor Skalovski: zhivotot i
deloto. MANU, Fondacija Trifun Kostovski,
Skopje 2003, 11–86. Kostadinovski,
Kostadin: Trajko Prokopiev – zhivot i delo.
Makedonski naroden teatar, Skopje 1983. Mitevska,
Irena. Izveduvachkata tradicija na duvachki
instrumenti vo Makedonija. In: Stardelov, Georgi,
Dragoslav Ortakov & Dimitrije Buzarovski
(eds.), Muzikata na pochvata na Makedonija od
Atanas Badev do denes, MANU, Skopje 2004,
235–239. Ortakov,
Dragoslav: Makedonska seriozna muzika. In:
Kovačević, Krešimir (ed.), Muzička
enciklopedija tom II, JLZ, Zagreb 1974, 516. Ortakov,
Dragoslav: Muzichkata umetnost vo Makedonija.
Makedonska revija, Skopje 1982. Ortakov,
Dragoslav: Sovremena makedonska muzika. In:
Stardelov, Georgi, Dragoslav Ortakov &
Dimitrije Buzarovski (eds.), Muzikata na
pochvata na Makedonija od Atanas Badev do denes,
MANU, Skopje 2004, 9–19. Pavlovska-Shulajkovska,
Mirjana:
Metodologija za rekonstrukcija na umetnichkiot pat
na makedonskite muzichki umetnici, Danka Firfova –
prvata makedonska operska pevica, Master Thesis
defended at UKIM FM Skopje 2006. Pavlovska-Shulajkovska,
Mirjana:
Danka Firfova: zhivot posveten na muzikata.
Direkcija za kultura i umetnost, Skopje 2009. Proshev,
Toma: Sovremena makedonska muzika.
Istarska naklada, Pula 1986. Romano, Moritz [Skopje, 1985]. Shpanski
romansi vo Bitola. Menora,
www.jewish.org.mk, January 12, 2012. Shuplevski,
Dragan: Horskata reproduktivna umetnost vo
Makedonija – kratok istoriski pregled. In: Muzika,
1999, no. 4, 47–56. Skopie. April 1942. King Boris III
square. YouTube,
http://www.youtube.com/watch?v=eeDCJZ3kCHI&feature=related,
January 14, 2012. Stardelov, Georgi, Dragoslav Ortakov
& Dimitrije Buzarovski (eds.): Muzikata na
pochvata na Makedonija, Kniga 7 del I-II.
MANU, Skopje 1999. Stardelov,
Georgi, Dragoslav Ortakov & Dimitrije
Buzarovski (eds.): Muzikata na pochvata na
Makedonija, Kniga 12. MANU, Skopje 2004. Terzioski,
Rastislav: Denacionalizatorskata dejnost na
bugarskite kulturno-prosvetni institucii vo
Makedonija (Skopska i Bitolska okupaciona oblast
1941–1944). Institut za nacionalna istorija,
Skopje 1974.
↑ Back to top |
Home |
© Buzarovski, 2014
All rights reserved. Unauthorized duplication of any of the materials related to the files which are part of this web site is a violation of applicable laws. |