Academic literature on the topic 'Chuvash Songs'
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Journal articles on the topic "Chuvash Songs"
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Ismagilova, Ekaterina I. "Folk song poetry of the Chuvash people of the Krasnoyarsk Krai." Sibirskiy filologicheskiy zhurnal, no. 4 (2022): 49–62. http://dx.doi.org/10.17223/18137083/81/4.
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To create an adequate picture of the existence of the oral folk art of the Chuvash settlers, it is necessary to characterize individual microlocal traditions. Such traditions include song samples recorded from the Chuvash of the Krasnoyarsk Territory in the Bolshemurtinsky (1981 year of recording) and Kazachinsky (2009 year of recording) regions. Genre-style composition of songs is heterogeneous. The calendar layer of folklore is represented by Maslenitsa and round dance songs. Life cycle patterns include wedding and recruiting songs. Untimed lyrics includes guest and traditional lyric songs, late lyric samples of the late 19th and 20th centuries, songs with plots and melodies borrowed from Russian folklore, and author’s songs. During youth meetings, ditties were performed in the Chuvash and Russian languages. The texts of ritual and traditional lyrical songs preserved a number of patterns that are characteristic of the Chuvash folk song poetry. These include the aphoristic type of versification, brevity of plot, two-link figurative parallelism. The texts of the songs accompanying the rite describe the ritual actions in detail. Ritual songs most often have a narrow local timing. There is also a supradialect layer of texts of much wider distribution (Siberia, the Volga region). This layer includes samples of untimed lyrics: some guest songs, many lyrical songs (especially of late origin), songs with borrowed plots and tunes, some ditties. Chuvash settlers who came from different places developed a common repertoire, one that includes songs known to most performers.
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Ismagilova, Ekaterina I., and Elena V. Fedotova. "The Theme of Separation in the Song Folklore of the Chuvash Settlers of the Kemerovo Region." Critique and Semiotics 10, no. 2 (2022): 241–57. http://dx.doi.org/10.25205/2307-1737-2022-2-241-257.
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This paper examines the embodiment of the theme of separation in the song texts recorded in 1951 and 2007 from the Chuvash settlers of the Kemerovo region. This theme is present in guest and recruit songs, in the songs of immigrants created in the process of forced resettlement of the Chuvash to new lands. In aphoristic short-plot songs, the theme of separation often manifests itself in the form of separate words and verbal turns – “signs” that point to it. In guest songs, the theme of separation is conveyed most often through images of memories, distant distances, abandonment, sadness. “Signs” of crying, farewell, big cities, symbolizing the foreign side, prevail precisely in recruit songs; in them, the theme of separation sounds especially dramatic and tense. In the songs of the settlers, the images present in the guest and recruit songs are summed up. In addition, in the songs of the settlers there are detailed descriptions of the move and the harsh living conditions in new places. Probably, such a topic was relevant specifically for the bearers of the tradition in the middle of the 20th century, which is associated with their memories of forced resettlement in Siberia at the beginning of the 20th century, as well as with the memory of the difficult trials of the period of the Great Patriotic War. Despite the absence of song variants in the recordings of different times considered by us, there is a certain continuity in the folklore samples of the local Chuvash tradition of the Kemerovo region. It manifests itself in the similar themes of a number of the considered songs and the features of its expression (general words are “signs” indicating the theme of separation, the principle of two-link figurative parallelism is preserved in many texts).
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Egorova, Olga Nikolaevna. "Ethnographic Notes of N. V. Nikolsky on the Chuvash People of the Village of Apanasovo-Temyashi." Ethnic Culture 4, no. 2 (June 27, 2022): 6–12. http://dx.doi.org/10.31483/r-101502.
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The work is devoted to the analysis of ethnographic records of the doctor of historical sciences, professor N. V. Nikolsky about the Chuvashs of the village of Apanasovo-Temyashi, Yalchik district of the Chuvash Republic, stored in the scientific archive of the Chuvash State Institute of the Humanities. The materials of the scientist are valuable historical sources that describe the general picture of the everyday life of the Chuvash village at the turn of the 19th-20th centuries. The collection of ethnographic material was carried out by the researcher through participant observation as part of his expedition. A special layer in the fund of N. V. Nikolsky is represented by Chuvash folk songs, which reveal links with modern vocal culture. The work is based on the analysis of archival documents in their relationship with historical events in general and the biography of N. V. Nikolsky in particular. The study aims to introduce newly discovered documents into scientific circulation, as well as song material, which is important from the point of view of folklore. The ethnographic materials of N.V. Nikolsky are important not only for the descendants of the inhabitants of Apanasovo-Temyashi: his work in the study of the history, ethnography, folklore and language of the Chuvash is of national importance.
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Bushueva, Lyubov Ivanovna. "Composer A. A. Egorov in the History of the Musical Culture of Chuvashia." Ethnic Culture 4, no. 4 (December 27, 2022): 8–14. http://dx.doi.org/10.31483/r-103771.
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The article is devoted to the creative connections of the famous Soviet conductor and composer A.A. Egorov with the musical culture of Chuvashia in the 1930s. The purpose of the work is to recreate the historical picture of these connections, to determine his contribution to the Chuvash art and to identify the characteristic features of the interpretation of the national song folklore. The material of the study was musical texts of works by A.A. Egorov (first of all, the author’s collection «Folk Songs Arranged for Mixed Choir by A. Egorov»), as well as his theoretical and methodological work in the field of choral arrangement of folklore primary sources. Using the analytical method, the author traces the history of the appearance of choral arrangements by A.A. Egorov on the themes of Chuvash folk songs, the musical and poetic text of the most popular work «Kolkhoz uy-khire» («Kukkuk») («Kolkhoz fields» («Kukushka», «Kukuk!”)) is analyzed. It is concluded that the communication of A. A. Egorov with the head of the team the Chuvash composer V. P. Vorobyov inspired him to create ten miniatures for a cappella choir. Among the Chuvash adaptations, the most popular was «Kolkhoz uy-khire» («Kukkuk») – «Collective Farm Fields» («Kukushka»). Her undoubted success in the artistic culture of the 1930s let us explain not only the folklore theme successfully chosen by the composer, the organic interaction of the found methods of arranging the folklore source with the typical features of A. Egorov’s creative style as a whole, but also the masterful use of all musical and expressive resources. Together with other works by A.A. Egorov’s adaptation of «Kolkhoz uy-khire», included in the golden fund of Russian choral literature, can be called a classic of the musical art of Chuvashia.
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Kutsaeva, Marina Vasilevna. "“The song helps us to build and to live”: the role and functions of the ethnic song in Moscow Chuvash and Mari diasporic groups." Ethnic Culture 5, no. 4 (November 28, 2023): 40–48. http://dx.doi.org/10.31483/r-107989.
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The paper studies the role and functions of songs in an ethnic language in the life of representatives of the internal diaspora. The article is based on the results of sociolinguistic surveys conducted in Chuvash and Mari diasporas of the Moscow region in 2014–2017 and 2019–2021, respectively. The researcher employed the following sociolinguistic methods: direct observation, participant observation, structured interviews of respondents, documentary recording of responses, statistical data analysis. One of the blocks in the sociolinguistic questionnaire included such aspects as the language – in – culture and ethnic culture maintenance in the context of the vitality of ethnic language. Ethnic culture, along with the ethnic language, is one of the key markers of ethnic identity in both samples. As the results of the survey demonstrate, songs in Mari or Chuvash occupy a significant place in the respondents’ life. Several functions of the ethnic song were identified: adaptation to new living conditions; co-optation of new members (i. e., through cultural ethnic events); creative self-realization; language learning (i. e., ethnic songs used for educational purposes in language courses); initiation into language and culture for new speakers of Chuvash and Mari. The role of ethnic song in the revitalization of the language has been equally determined.
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Mankov, Andrey V. "MUSICAL LIFE OF CHUVASHIA IN THE EARLY 1930s." Historical Search 1, no. 3 (December 21, 2020): 98–105. http://dx.doi.org/10.47026/2712-9454-2020-1-3-98-105.
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The article studies the main directions of musical life of Chuvashia at the beginning of the Cultural Revolution in the USSR in the 1930s. The issues of the journal “Soviet music” were used as a historic source. The article, in particular, tells about the achievements of the Republic in creating the national culture within the framework of the Cultural Revolution which were demonstrated in the days of celebrating in 1935 the 15th anniversary of the Chuvash autonomous region formation. At this, the author pays special attention to the role of Cheboksary music college in forming the musical arts of the region and which became the center of musical life in Chuvashia. The article describes the creative activities of the leading music workers and composers of the Republic of the studied period (S.M. Maksimov, V.M. Krivonosov). The conclusion is made about undoubted successes in the development of musical culture of Chuvashia in the early 1930s. It adopted more modern forms at those times. Thus, in these years in the Chuvash territory the first major musical compositions in the Chuvash language are created. In the republic there were a symphonic orchestra and a state choir, music radio broadcasting was created. Composers from Chuvashia became known both at home and abroad where their songs were performed. Composers actively studied the Chuvash musical folklore.
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Iagafova, Ekaterina A. "Representation of Chuvash ethnicity in cyberspace." Samara Journal of Science 12, no. 3 (December 1, 2023): 222–27. http://dx.doi.org/10.55355/snv2023123214.
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The article examines the forms, methods and mechanisms of representation of Chuvash ethnicity in cyberspace, characterizes the space of ethnic history and culture of the Chuvash on the Internet, describes the forms and ways of representing the ethnic image of the Chuvash in the Internet space, analyzes the structure of Chuvash cyberspace; characterizes the degree of activity and motivation of participants in virtual communities in the process of representation of ethnicity. The research is based on the study of the content of the «Chuvash» Internet: online platforms, Internet services, resources, a virtual «field» – an online survey of users of social networks. The study showed that cyberspace reflects the real picture of ethnocultural processes in the Chuvash world, in particular in the field of communication, demonstrates the functionality of elements of ethnic culture (songs, costume, etc.). At the same time, the global network is forming its own space of Chuvash ethnicity, based on markers that are significant from the point of view of Internet users (language, songs, visual images of Chuvash culture). By broadcasting them through social networks and web services to the real world, users construct their identity and form a cyberspace with significant potential for preserving the ethnicity of the Chuvash in the real world. Thanks to the content in Russian and other languages, the Chuvash culture and language are being popularized. At the same time, the activity of Chuvash Internet users in ethnocultural topics is low, and in most cases it is expressed by passive forms of information perception, which probably indicates the limited nature of the impact of virtual ethnicity on the processes of ethnic identification of Chuvash in reality.
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Ильина, Галина Геннадьевна, and Алексей Анатольевич Александров. "FOLKLORE TRADITIONS OF KANASHSKY, YANTIKOVSKY AND URMARSKY DISTRICTS OF THE CHUVASH REPUBLIC: GENRE COMPOSITION." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 2(107) (July 30, 2020): 41–50. http://dx.doi.org/10.37972/chgpu.2020.107.2.006.
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В статье рассматривается жанровое разнообразие песен некоторых деревень Канашского, Янтиковского и Урмарского районов Чувашской Республики. Рассмотрение выбранных нами автохтонных локальных традиций продиктовано тем, что именно из этих районов в разное время произошло переселение чувашей в Сибирь. Нами планируется сравнительное изучение фольклора переселенцев на новых территориях, которое будет проведено позже. Изучение локальных традиций позволит нам провести дальнейшее исследование. Фольклор рассматриваемых районов чрезвычайно богат и сложен. В ходе работы выявлены песни, исполняемые в этих районах в обрядовой и необрядовой сфере жизни чувашей. К обрядовой песне принято относить песни, исполняемые во время календарных праздников, и семейно-бытовые песни. Широко бытовали и бытуют в указанных районах календарные песни. Записаны здесь песни новогоднего цикла Шерни / Кăшарни / Кĕшерни юррисем, çăварни (масленичные), рет юррисем (букв. ‘песни родни’), исполняемые во время Мункун. Из семейно-бытовых песен широко распространенными являются туй (свадебные) юррисем, салтак юррисем (рекрутские песни и причитания). В ходе исследования не обнаружены записи пытару/пумилкке/асăну юррисем (похоронно-поминальных песен). Неполно представлен детский фольклор. Судя по материалу, активно исполнялись в этом ареале молодежные лирические песни. Вăйă юррисем (хороводные песни) схожи с улах (посиделочными) песнями, которые сопровождались ташă такмакĕсем, шÿтлĕ (шуточными) и игровыми песнями. Тăлăх-турат юррисем (сиротские песни) по мотиву расставания схожи с песнями хĕр йĕрри - плачами невесты, рекрута и çĕн çĕре каякансен юрри (переселенцев). Ĕç юррисем (трудовые песни) представлены пока неполно. В песенном творчестве указанных районов имеется множество сюжетных песен пейĕт, для которых характерными являются событийное изображение фактов жизни и психологическое переживание героя. Многочисленными являются записи ĕçкĕ-çикĕ юррисем (пирушечные песни) с разновидностями: кĕреке (застольные), хăна (гостевые) юррисем. The article considers the genre diversity of the songs in a number of villages Kanashsky, Yantikovsky, Urmarsky districts of the Chuvash Republic. The authors have chosen these autochthonous local traditions because the Chuvash people migrated to Siberia from these particular districts at different times. The authors are planning to make a comparative analysis of the folklore of the Chuvash migrants. The study of the local traditions will allow the authors to make further research. The folklore of the considered districts is very rich and complicated. The research revealed the songs related to ritual and non-ritual spheres life of the Chuvash people in those districts. Ritual songs are considered to be family and genre songs and the ones, which were used during calendar festivals. Calendar songs were widely performed in the mentioned districts and are still being performed at the moment. The authors have recorded the songs related to the New Year’s season - Sherni/Kesharni/Kesherni songs, shchevarni (Maslenitsa songs), ret yurresem songs (lit. songs of family and relatives) that were performed on Munkun. As for the family and genre songs, tuy yurrisem (wedding songs) and saltak yurrisem (recruitment songs and lamentation) are widely spread. During the research the records of pytaru/pumilkke/asanu yurissem (funeral songs) have not been found. Child folklore is partially presented. According to the material, youth lyric songs were actively performed in this area. Vaiyayurrisem (round songs) resemble ulakh (gathering songs) and accompanied by shutle / tasha takmakesem (humorous songs) and playing songs. Talakh-turat yurrisem (orphan’s songs) resemble kher yerri (bride lamentation), recruit and schen schere kayakansen (migrants’ songs) in terms of the theme. Esch yurrisem (labour songs) are partially presented. There are a lot of peyet (narrative songs) among the songs of the considered districts, which represent life events and emotions of the literary character. There are also a lot of records of eschke-schike yurrisem (feast songs) and its variations: kereke (drinking songs), khana yurrisem (guest songs).
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Ильина, Галина Геннадьевна, Алексей Анатольевич Александров, and Екатерина Игоревна Исмагилова. "FOLKLORE TRADITION OF THE VILLAGE OF YAMANOVO AND THE VILLAGE OF TOBURDANOVO OF THE KANASH DISTRICT OF THE REPUBLIC OF CHUVASHIA AND ITS EXISTENCE AMONG THE CHUVASH SETTLERS OF THE NORTHERN DISTRICT OF THE NOVOSIBIRSK REGION." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 2(111) (July 7, 2021): 65–78. http://dx.doi.org/10.37972/chgpu.2021.111.2.008.
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В настоящей статье в сравнительном аспекте рассматривается песенный фольклор д. Яманово и с. Тобурданово Канашского района Чувашской Республики и бытование этой микролокальной традиции у потомков чувашских переселенцев из этих населенных пунктов в Новосибирскую область. Были использованы современные, архивные и опубликованные материалы (1933-2020 гг.), записанные на материковой территории традиции и в ее сибирской диаспоре. Системы фольклорных жанров поволжской и сибирской традиций во многом совпадают. Некоторые жанры, относящиеся к обрядовому фольклору, в Сибири оказались утраченными. В фольклоре сибирских чувашей более заметны заимствования из русской традиционной музыки. Подобное качество проявляется на уровне отдельных компонентов (песенные сюжеты, напевы), а также в плане целых жанров (лирические песни поздней традиции, русские частушки, фольклоризованные церковные песнопения). Благодаря глубокой структурированности элементов музыкального языка, свойственной чувашской песенной культуре, ритмо-синтаксическая и ладовая основа подавляющего большинства песенных образцов сохранилась в сибирско-чувашской традиции практически без изменений. Отличия между поволжскими и сибирскими вариантами затрагивают преимущественно уровень мелодики. Заметно также усиление роли низового диалекта в сибирско-чувашской диаспоре. The article considers the song folklore of the village of Yamanovo and the village of Toburdanovo of the Kanash district of the Chuvash Republic in a comparative aspect and the existence of this microlocal tradition among the descendants of the Chuvash immigrants from these settlements to the Novosibirsk region. The study employed the modern, archival, published materials (1933-2020), and the traditions recorded on the mainland territory and in its Siberian diaspora. The systems of folklore genres of the Volga and Siberian traditions largely coincide. Some genres related to ritual folklore were lost in Siberia. In the folklore of the Siberian Chuvash people, borrowings from Russian traditional music are more noticeable. This feature is manifested at the level of individual components (song plots, melodies), as well as in terms of entire genres (lyrical songs of the late tradition, Russian ditties, folklorized church chants). Due to the deep structuring of the elements of the musical language inherent in the Chuvash song culture, the rhythmic-syntactic and modal basis of the vast majority of song samples has been preserved in the Siberian-Chuvash tradition almost unchanged. The differences between the Volga and Siberian versions affect mainly the level of melodica. The strengthening of the role of the Anatri dialect in the Siberian-Chuvash diaspora is also noticeable.
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Petrov, Igor G. "POSTHUMOUS WEDDING IN TRADITIONAL IDEAS AND RITUAL PRACTICE OF THE CHUVASHS IN SOUTHERN URAL." Vestnik Chuvashskogo universiteta, no. 1 (March 30, 2023): 50–63. http://dx.doi.org/10.47026/1810-1909-2023-1-50-63.
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The article considers the funeral and memorial customs and rites of the Chuvashs living in the Southern Urals, mainly the Ttans-Ik and Trans-Belaya basins of the Republic of Bashkortostan. The choice of the study range is due to the fact that the funeral and memorial customs and rites of the Chuvash of this region have not been studied sufficiently in historical and ethnological terms, and the available studies are generalized or fragmentary in nature. The purpose of the study is to show the phenomenon of the so-called posthumous wedding and its local variants, which have been preserved and exist in the ritual practice of this ethno-territorial group. Materials and methods. The study was conducted using general scientific methods of analysis, synthesis, analogy, systematization and fundamental principles of historical research: historicism, objectivity, consistency and specificity. Historical-comparative, descriptive methods, the method of system-semantic analysis, as well as such methods of field research as interviews and observation were also used. The article is based on historical and ethnological studies on ethnography, religion and funeral and memorial rituals of the Chuvash, the peoples of Russia and the Volga-Ural region, archival documents of the Scientific Archive of the Chuvash State Institute of Humanities, as well as field materials collected by the author in 2014, 2021, 2022 in the Republic of Bashkortostan and the Republic of Tatarstan. Results of the study. The ideas of the Chuvash about the institution of marriage were analyzed from the point of view of its relevance for unmarried and unmarried dead, verbal, actional and ritual actions pursuing the motivation for marriage by representatives of the specified category of the deceased were considered, the essence and content of the posthumous wedding in the ritual practice of the Trans-Ural Chuvashs were reflected, including local forms of its manifestation. Findings. It was revealed that posthumous weddings were symbolic in nature and were held formally. With the participation of the parents and relatives of the deceased, they arranged both with a preliminary visit and without visiting the cemetery. The time for the wedding was determined by the parents of the deceased themselves or adjusted it to the summer or autumn general commemoration of the deceased. At posthumous weddings, such elements of the traditional Chuvash wedding were observed as the performance of long and dance wedding songs with dances, parental blessing, a joint meal at the table, and the distribution of gifts to the participants of the rite.
Books on the topic "Chuvash Songs"
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Grechko, Nina Maniulovna. Uĭăkh śuti văl pultăr. Shupashkar: [s.n.], 2007.
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Vorobʹev, Vasiliĭ Petrovich. Chăvash khalăkh i͡urrisem. Shupashkar: [Chăvash patshalăkh gumanitari ăslălăkhĕsen instituchĕ], 2011.
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Nikolaĭ, Vasilʹev, ed. Săpka i͡u︡rrisem: Săpkavsem. Shupashkar: Chăvash kĕneke izdatelʹstvi, 1989.
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Kondratʹev, M. G. Chuvashskai͡a︡ "śavra i͡u︡ră" i ee tatarskie paralleli. Cheboksary: Nauch.-issl. in-t i͡a︡zyka, literatury, istorii i ėkonomiki pri Sovete Ministrov Chuvashskoĭ Respubliki, 1993.
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Kondratʹev, M. G. O ritme chuvashskoĭ narodnoĭ pesni: K probleme kvantitativnosti v narodnoĭ muzyke. Moskva: "Sov. kompozitor", 1990.
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Patmar, I. A. Purnăś ilemĕ: Pai͡a︡nkhi chăvashsen tuĭ ĭĕrki. [Shupashkar: s.n.], 1992.
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Stanislav, Aleksandrov, Rodionov V. G, I͡U︡mart G. F, and Chuvashskai͡a︡ A.S.S.R. (R.S.F.S.R.). Nauchno-issledovatelʹskiĭ institut i͡a︡zyka, literatury, istorii i ėkonomiki., eds. Chuvashskai͡a︡ narodnai͡a︡ poėzii͡a︡. Cheboksary: Nauchno-issl. in-t i͡a︡zyka, lit-ry, istorii i ėkonomiki pri Sovete Ministrov Chuvashskoĭ ASSR, 1990.
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Ivanov-Ekhvet, A. I. Muzy ishchut prii͡u︡t ; k istorii dorevoli͡u︡t͡s︡ionnykh russko-chuvashskikh kulʹturnykh vzaimosvi͡a︡zeĭ--muzyka, teatr. Cheboksary: Chuvashskoe knizhnoe izd-vo, 1987.
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Chuvash Folk Songs. Akademiai Kiado, 2002.
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Persirlans songs traditional chuvash music. 2011.
Find full textBook chapters on the topic "Chuvash Songs"
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Knyazev, Mikhail. "NEITHER A LEXICAL VERB NOR A COMPLEMENTIZER: EVIDENTIAL SAY-BASED COMPLEMENTS IN CHUVASH." In Songs and Trees: Papers in Memory of Sasha Vydrina, 529–55. Institute for Linguistic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.30842/9785604799925202319.
Full textConference papers on the topic "Chuvash Songs"
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Seabra, Waldomiro J. G., Juan G. Colonna, and Eduardo F. Nakamura. "Sensor Acústico para Detecção de Desmatamento Ilegal na Floresta Amazônica." In IX Simpósio Brasileiro de Computação Ubíqua e Pervasiva. Sociedade Brasileira de Computação - SBC, 2017. http://dx.doi.org/10.5753/sbcup.2017.3300.
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Neste trabalho, apresentamos um método para detecção de sons de motosserras, com o objetivo de auxiliar no combate de extração ilegal de madeira nas florestas tropicais. Em nossa abordagem utilizamos um método de classificação de uma classe para detectar apenas o som de interesse e rejeitar todos os outros sons, sejam estes naturais ou artificiais, tais como: chuva, vento, diversas vocalizações de animais, fala humana, e motores de barcos. O método de classificação escolhido é o Support Vector Data Description (SVDD), que consiste em criar uma hiperesfera ao redor dos pontos que representam a classe alvo no espaço de características acústicas. Aplicando a transformada Wavelet, para a extração das características acústicas, conseguimos processar o sinal de entrada em tempo real. Assim, o método proposto consegue processar e classificar osáudios em tempo real com baixa complexidade computacional, o que beneficia o uso de sensores por economizar processamento, reduzindo o consumo de bateria. Através dos experimentos realizados, concluímos que nossa abordagem é eficiente diferenciando sons de motosserras de sons naturais (AUC = 96%), diferenciando motosserras e sons artificiais de sons naturais (AUC = 95%), mas perde eficiência quando comparada com sons artificiais (AUC = 77%).