Force in Stasis Spectral, Spatial and Theoretical Finding in “Pilentze Pee”

Abstract

The music of Le Mystère des Voix Bulgares (The Mystery of the Bulgarian Voices), recorded by the Bulgarian State Radio and Television Female Vocal Choir, is emblematic of the methodological and theoretical discontinuities between music theorists and ethnomusicologists (Webster 168). From one perspective, the music evinces a rich and attractive musical character, as reflected by its successful commercial release on record labels 4AD and Nonesuch. From another perspective, the music represents a gentrified, indistinct, and commoditized national product (Silverman 212; Rice, May It Fill 28). While it remains important to note the intrinsic antagonisms between this music and world culture, this paper seeks to avoid such conjectural debates. Rather, it discusses the mystery of this music largely outside of the Western musical theoretical lens. Using “Pilentze Pee” from Le Mystère des Voix Bulgares as representative of the Bulgarian aesthetic, I conducted a series of spectral, spatial, and other musical analyses to illuminate the varied or nuanced qualitative responses to Bulgarian vocal music in general and the six-part a cappella arrangements in Le Mystère des Voix Bulgares recordings specifically.