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Kozlova, Irina, i Elena Levochskaya. "“I Felt Frightened and Then I Started Singing”: Songs at Russian Protest Actions". FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 27 (18.12.2023): 51–80. http://dx.doi.org/10.17161/folklorica.v27i.21550.
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This article explores the role of songs in Russian protests. Data are drawn from ethnographic observations made at protests held between 2015 and 2022, mostly in Moscow and St. Petersburg, as part of the project, “Monitoring Contemporary Folklore,” based at the Russian Presidential Academy of National Economy and Public Administration. The authors consider materials from 240 protests. Viewing protests as an act of communication, the article analyzes the circumstances for song performances and suggests a hypothesis for songs’ communicative goals. The article additionally demonstrates how song choice changes from common 1980’s protest songs to new tracks that gained later popularity. The article demonstrates how song production depends on the types of protests and the levels of participant engagement.
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Semen, Natalia. "MODERN RUSSIAN MUSIC AS A TOOL FOR THE SPREAD OF PRO-RUSSIAN NARRATIVES: FEATURES AND WAYS OF COUNTERACTION FROM UKRAINE". Bulletin of Lviv Polytechnic National University: journalism 2, nr 8 (2024): 65–70. http://dx.doi.org/10.23939/sjs2024.02.065.
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Over the course of two years of full-scale war, numerous studies demonstrate that a portion of Ukraine’s population still maintains an interest in Russian-language musical products. This has a particularly negative impact on the consciousness of such citizens and supports the armed aggression of the Russian Federation. Through the monetization of music streaming on various platforms, funds flow into Russia’s budget, which it then uses to purchase weapons for its war against Ukraine. Music is enjoyed by different generations of people, regardless of age, status, or nationality. That is why it is one of the most effective means of spreading propaganda. It is unobtrusive, designed for easy perception and relaxation. This manipulation tactic of audience consciousness can be observed even during World War II. Most Russian songs predominantly celebrate everyday phenomena, various forms of leisure, or depict the grandeur of love and other emotions. However, in Russia, there are types of songs that propagate narratives such as the idealization and romanticization of Russian President V. Putin, calls for patriotism, reminders that everyone living in Russia and speaking Russian is part of the «great Russian people», emphasis on the greatness and power of Russia, and portraying the country as always victorious, urging participation in the military. Ukrainian media researchers need to regularly and carefully monitor the emergence of such compositions and the narratives they spread. They have a particularly negative impact on the consciousness of Ukrainian citizens, especially those residing in temporarily occupied territories of our country. The dissemination of propaganda through songs is a widespread and at the same time insidious method of influencing society. Russia actively uses it and unfortunately, quite successfully, as evidenced by numerous studies showing that Ukrainians still listen to Russian music on many online platforms.
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Ursegova, N. A. "WEDDING MUSIC AND POETRY FOLKLORE OF THE RUSSIAN POPULATION OF THE SOUTHERN URALS". Arts education and science 1, nr 3 (2020): 183–88. http://dx.doi.org/10.36871/hon.202003022.
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The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.
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Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.
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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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Kovtun, Kateryna. "Oi u luzi chervona kalyna (“Oh, the Red Viburnum in the Meadow”) as an Anthem-Song: Social Roles and Genre Transformations in the Time of War". ARTISTIC CULTURE. TOPICAL ISSUES, nr 19(2) (29.11.2023): 74–79. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294625.
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Countering the Russian invasion is the subject of many songs dating back as far as several centuries. Oi u luzi chervona kalyna (“Oh, the Red Viburnum in the Meadow”) is one of such songs. Intonation structure of this folk song, remarkably resembling an anthem, represents the mighty power of generations and unites the communities in their struggle against the enemy. Investigating the genre transformations of this piece and it communicative models that consolidate communities serving as an attribute of Ukrainian national identity as opposed to the enemy proves the importance of the subject of this paper. The objectives of this research were the following: to study the historical and genre reminiscences of the Oi u luzi chervona kalyna song, to analyze its impact on developing the new trends within the popular Ukrainian music and culture, to outline the communicative mechanisms used in the anthem-like pieces rooted in folk songs to influence and consolidate communities. The means of replication of this song may be identified, on the one hand, as a specifically targeted strategy, namely, seemingly random viral sharing in the Internet. On the other hand, the transformation of a genre of this song is evident. Heavy rotation of the Oi u luzi chervona kalyna song enables concluding that it became a part of the mainstream of the present time. The very idea of the song encourages the audience to collaboration and co-creation, be it singing along, making electronic covers, singing backing vocals, etc. The fact that its symbolic and semiotic fields influenced the intensification of cross-cultural interaction between similar worldviews and became a unifying factor in the struggle against the Ruscist evil in is an important feature of this song’s replication during the war
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Zhurkova, Daria A. "Soundtrack’s Genre Patterns of the Russian Retro-series about Soviet Pop Artists". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 37–55. http://dx.doi.org/10.37816/2073-9567-2023-69-37-55.
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Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original, it works powerfully and reinterprets the popular music of the Soviet era. On the one hand, the “radius” of Soviet popular music is greatly expanding from a chronological and geographical point of view and including foreign pop hits, thieves' songs, old romances. On the other hand, the creators of serials are pursuing a strict repertoire policy towards Soviet popular music. In particular, they almost completely exclude civil-patriotic songs both from the sound landscape of the soviet era and from the biographies of the artists. The character of a modernized type of soundtrack is highly dependent on the location and function it serves in the structure of the series. It turns out that in the intros to the series and in the dubbing of the love line of the main characters, the original songs undergo an insignificant change. A much more radical introduction into the original text occurs when songs become part of a genre off-screen soundtrack or are transformed for dramatic needs, growing into an independent musical number within the narrative.
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Krasnikova, Tatiana. "KIRILL VOLKOV CREATIVITY IN THE ASPECT INTERACTION OF THE CONCEPTS «FOLKLORE AND STYLE»". Ученые записки Российской академии музыки имени Гнесиных, nr 45 (2023): 26–31. http://dx.doi.org/10.56620/2227-9997-2023-2-45-26-31.
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The paper provides an insight into the elements of style of the outstanding Russian composer Kirill Volkov. They are defined within the sonata genre for a chromatic free-bass bayan and studied in terms of the synthesis of arts and in view of the implementation of Russian folklore in the work of the composer, which allows to appreciate this part of his artistic legacy as a single text communicating the idea of Russia spiritual resurgence. Studied as a single text, declarative of the unique interpretation of the genre for a chromatic free-bass bayan, Volkov pieces revealed bayan new technical and expressive capabilities, which incorporated a wide range of genre spheres. Znamenny chant and spiritual poem, folk song and dance, bylina epos and keening, chastushka and recitation, spell-prayers and patter songs are demonstrated as integral components of the author style, giving the works the unique shape filled with associations and allegories.
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Ursegova, Natalia A. "WEDDING MUSICAL AND POETIC FOLKLORE OF RUSSIAN POPULATION OF THE SOUTHERN URAL". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 258–67. http://dx.doi.org/10.37816/2073-9567-2020-58-258-267.
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The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing and song-and-dance. The musical-style group combines a part of the wedding repertoire, which is characterized by a certain set of typical features that reflect the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is carried out at the level of verbal, syllabic, and pitch parameters of chanting organization. Regularities specified for the first time led to a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, which ensures not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole. The paper also suggests that search for the origins of the local folklore tradition should be carried out in the Northern Russian European region, which is characterized by a lamenting (dramatic) type of the wedding ritual.
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Enukidze, Natela I. "“In Her Own Repertoire”: Ksenia Kourakina on the Stage of the Cameo Theater Krivoe Zerkalo [Distorted Mirror]". Problemy muzykal'noi nauki / Music Scholarship, nr 2 (lipiec 2023): 128–39. http://dx.doi.org/10.56620/2782-3598.2023.2.128-139.
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This article presents an attempt to reconstruct the intermediate repertoire of the cameo theater Krivoe Zerkalo [Distorted Mirror]. During the Soviet period of the theater’s activity, the “singer of intimate songs” Ksenia Kourakina (1903–1988) enjoyed considerable success among the sideshow actresses, who, according to the press announcements, performed “in her own repertoire” (a Russian expression, meaning “behaving in her own typical manner”). The possibility of a partial reconstruction has been provided by materials of the State Museum of Musical and Theatrical Art (St. Petersburg). The funds of Kourakina’s archive comprise a repertoire list of 35 items, a number of musical materials (partly published, partly handwritten), as well as an autobiography written by the singer in 1950. Another source of information was the press of Petrograd (which was called Leningrad from 1924 to 1991), primarily, the journal Rabochiy i teatr [The Worker and the Theater]. The scarce amount of responses by reviewers to Kourakina’s performances, along with an analysis of the available part of the sources, allowed us to arrive at the following conclusions. Ksenia Kourakina’s overall repertoire was diverse both in terms of genre and of subject matter and, most importantly, reflected the tastes and preferences of the Soviet public in the late 1920s. The time-tested pre-revolutionary “hits” coexisted in it with new infatuations. Kourakina performed new songs about miners and street children, “street songs” and a particular song about a brick factory — the famous song Kirpichiki [The Little Bricks]. Some of them have subsequently become iconic in the history of Soviet culture. However, Kourakina herself maintained a preference of pre-revolutionary songs of the “era of tabby gowns,” — such as, Dolores, Latinsky kvartal [The Latin Quarter], etc. The most significant of them is Shumit nochnoy Marsel [Marseille is Bustling with Noise at Night] by Yuri Milyutin and Nikolai Erdman. Having been composed already in the Soviet era, it made use of the musical and literary cliches of the Silver Age, “referring” to the works of Alexander Blok, Vsevolod Meyerhold, Alexander Tairov, to Georges Bizet’s Carmen, an opera that was very popular in pre-revolutionary Russia. On the stage of Krivoe zerkalo Ksenia Kourakina did not limit herself to merely performing her songs as interludes. She “played out” the plotlines, making use of the so-called “declamatory singing” that combined “musical melodiousness, declamation and acting”. Thereby, Kourakina’s interludes presented “song theater,” the foundations of which had been previously laid by Alexander Vertinsky, Izabella Kremer and Ilia Ilsarov on the stages of Russian cabarets and cameo theaters even before 1917.
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Žičkienė, Aušra. "Let Us Raise and Clang Our Glasses! Tracing the History of the Student Songs". Tautosakos darbai 50 (28.12.2015): 153–82. http://dx.doi.org/10.51554/td.2015.28995.
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The article aims at revealing the vitality of the oral cultural pattern as illustrated by the songs spread by perhaps the most literate community – students. The analysis of Lithuanian student songs focuses on two compositions that have been favored by students for quite a long time, travelling between European universities orally (at least in part) and sometimes even radically changing their shape.One of these songs is entitled Krambambuli (that is also the name of a strong liquor). It appeared in Lithuania in relation to the establishment of the student corporations following the German example. Yet among the Lithuanian students during the interwar period not the translated German song grew popular, but its local Lithuanian version. The Lithuanian Krambambuli inherited certain traits not only from its German predecessor, but also from the folkloric variants of the Russian translation, including some peculiarities of both the lyrics and melody, and certain additional features. By way of oral learning, dissemination, and variation this song was popular until the beginning of the 1960s. After Lithuania regained its independence and corporations renewed their activities at the universities, the song Krambambuli started sounding again, but today it cannot be regarded as a popular song. Members of the corporations learn it purposefully, as traditional heritage, which should be preserved and respected. Today Krambambuli seems to have turned into a presentable, “show” composition; it is difficult to say if it is ever going to find its way back into folklore proper again, enriching the treasury of the spontaneously developing folk creativity.Another song, the history of which we also use here as an illustration, is given a provisory title “Let Us Raise and Clang Our Glasses!” according to the prevailing lines of its refrain. Its melody, adapted from an Italian student song of the beginning of the 20th century, travelled to Lithuania via Russia, followed by the lyrics, which in Lithuania, however, was transformed into a patchy medley of unrelated humorous couplets. In Lithuania, this song exists and is learned almost exclusively orally, while its fragments “behave” in the virtual space not unlike the paremias: they are used to season the speech, to illustrate, to accentuate the peculiarity of the situation, or even as punchlines in certain funny situations.The first thing that draws attention when we attempt generalizing the history of the both long-lived student songs in question is the fact that they are male songs; incidentally, this tendency can be observed in the corpus of the student songs even today, although the student community has long ago ceased to be a masculine one. Masculinity, frivolity, beer, youth, love, gaiety – these are the main themes that have perhaps determined the long-lived popularity of the songs in question. However, the analyzed songs are interrelated not only in terms of their themes; they keep balancing on the borderline between cultural layers. Having emerged from the professional compositions, they are likely to be performed onstage, nicely arranged and perfectly intoned by professionally trained choirs. Yet another time the same song can completely adhere to the requirements of the popular scene, readily adapting to the popular taste by flexibly altering its shape and finally sounding in accordance to the requirements of almost the lowest social strata. Nevertheless, the most intriguing is the possibility of discerning the basic principles of folklore in the history of these songs; these principles are essentially similar to those developed by the oral culture in the ancient communities. Songs keep surviving for lengthy periods; they are repeated and in demand, since their texts seem lucid to the majority of the community members. They reflect the prevailing vision of the surrounding world, although their melodies change while crossing different countries and regions: they are adapted or even recreated, because they keep hitting the local filters that censor the song’s expression; these comprise certain pools of the musical forms, intonations and complex figures. The power of these filters may perhaps account for dissemination of certain forms of the musical expression in some areas and their total absence or strong changes in the others. If we add criteria of variation, collectivity, loss of authorship or its assumed irrelevance, and emphasize the importance that these songs acquire in relation to customs and rituals, we can perhaps complete the list of the main principles of folklore that are observed in these hybrid compositions – student songs.The traces of folklore found in the student songs do not mean, however, that these compositions can be considered folklore. Still, the student songs are shaped, sound and leave the living tradition precisely following the laws of the oral cultural pattern, thus “behave” in correspondence to its norms. So, even if today we are surrounded not only by the written, but also by the media culture, the modern community, if it is indeed a living and a self-renewing one, cannot completely discard the patterns of oral culture as well. The songs are an inherent part of such pattern, accompanying various rituals and customs or simply helping to create a happier kind of the daily life and making it meaningful.
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Lassan, Eleonora. "The Contemporary Russian Patriotic Song as a Phenomenon of a Post-Traumatic Society’s Condition". Slavistica Vilnensis 67, nr 2 (30.12.2022): 110–25. http://dx.doi.org/10.15388/slavviln.2022.67(2).99.
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The author has addressed both Soviet and post-Soviet song discourse a number of times already, as it is in the song discourse that one can discern the reflection of the ideological attitudes on the one hand and a certain indicator of how the spirit of the times changes on the other. The 2000s increased the impact channels of the song genre by adding the visual channel to the ones already existing; that is, a truly popular song is disseminated in clips. There appeared a new kind of a “civil” song in the Russian song space. It explicitly coincides with the propagandist trends, either the ones being created or the ones that have already been set. This song discourse is full of ressentiment motives that have rallied the present-day Russian authorities and a certain part of the population. Their aggressively advancing potential is related to the traumatic condition of the society experiencing a particular shock caused by the feeling of the loss of the erstwhile grandeur of the country. The author deals with the functions of such a propagandistic song that can be characterized as an additional propagandistic narrative on the examples of Gazmanov’s and Bichevskaya’s songs.
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Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization". Aspects of Historical Musicology 14, nr 14 (15.09.2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.
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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in France. On the other side, there are no special researches devoted to incarnation of lyricism in different cultures of pop singing based on their comparison. The objective of research is to reveal specifics of lyricism in Ukrainian and French songs and to apply the results received to the of work with the students of Popular Music and Jazz Department. Methods. To reach that objective, eight songs have been considered. Although these songs belong to different cultures (Ukrainian and French), they are bound the similar plot basics; they pertain to love poetry, and each of them in some way embodies themes of detachment, remembrance, confession of love etc. The main aspect taken into consideration was whether the song leans towards open expression of feeling or no, when the feelings of lyrical hero (even very strong) are kept inside him; and in what way that correlates with the song being French or Ukrainian. Results. Having considering these songs, we were able to state similarities and differences between them. The song “Kohana” (“Beloved”) combines lyrical extraversion with optimistic mood. Plentiful hints about future allow understanding of this song as an open declaration of joy, caused by mutual love. Hence, firm belief in happy future should be represented with active and strong voice. Contrary to that, the song “Ochi voloshkovi” (“Cornflower-blue Eyes”) directs into the past as a reminiscence of pleasant days of happiness. Clearly defined initial nostalgic mood gradually shifts into a tragic one as it becomes clear, that hero’s hopes for future cannot be fulfilled. In this case, emphatic affirmative intonation would be perceived as an illusion. The song “Kvity romena” (“Flowers of chamomile”) represents another pole of Ukrainian songs as it lacks tragic mood or confessions. The text of the song hasn’t any conflicts, and that causes “unproblematic” performing tone. The poetic text differs from the previous two songs as it relies less on a parallelism between nature and state of the soul and uses more complicated methods, such as assonances and more elaborated system of metaphors (the chamomile, initially standing for the soul of the hero, later becomes a symbol of love). Overall, this song characterizes not by “experiencing”, but by representation. The main motive of the song “Dead Leaves” (“Les feuilles mortes”) is remembrance, but not only of the past times, but also of the song, which the lyrical hero used to sing with his beloved. The structure of “Les feuilles mortes” is quite original as it consists of two parts: introduction with clearly defined speech basis, and the main part, where vocal plays bigger role. This reminds of traditional opera form “Recitativo e Aria”, where both parts might be not joined by the same thematic material. “Les feuilles mortes” doesn`t bear conflict as the idea that love cannot be returned is accepted rather calmly, without outburst of lamentation. The “flow” of music is rather smooth as it lacks sudden modulations and unusual intonations; that creates an atmosphere of tranquil reminiscence. The opposite attitude about love is enshrined in the song “The snow is falling” (“Tombe la neige”), where the snow stands for cold and dispassionate reality as well as of the state of soul of lyrical hero. The unity of these meanings is emphasized in the words “Blanche solitude” (“White solitude”), and their opposition – in the contrast of desperate cry and indifferent descent of snow. The melody of song is quite special as it has a pause after each line that creates the effect of woeful sighs. The simplicity of the harmony emphases relentless despair of the hero; thus, the song demonstrates an example of “limitation of expressive possibilities”. In the song “Nathalie” lyricism is combined with narrative features as the song is, basically, the recital of the story of the visit of the French tourist to the Moscow during the Soviet era. Here, the sound-painting is used: to portray the party of Russian students, the orchestra resembling Russian folk instruments is used and gradual acceleration of the tempo creates an allusion to traditional Russian dances. In the last part of the song potentially dramatic phrase “My life appears empty” doesn’t cause culmination as it would do on Ukrainian song – solitude taken just as fact of reality. The conclusion is drawn that the lyricism of Ukrainian songs is mostly inclined to the “pure” type with its open emotionality, and that of French songs – by the synthesis with another moduses of expression (such as narrative, pondering, reminiscence etc.). This difference is visible even more due to the similarities of the poetic texts. The Ukrainian songs usually have more opened form of emotional expression, with illusion of “experiencing”, while the French songs are marked by quite reserved feelings or usage of the change of their intensity as a mean of expression. In the latter case, expressiveness is reached often by another means, which often require more intellectual perception (complicated and refined poetic symbols, music closely following the text, poetic techniques etc.). Although of considered song groups includes those seemingly negating these conclusions (“Kvity romena”, “Tombe la neige”), they can be regarded as exceptions from the general rule that is inevitable and natural in the functioning of “living” artistic culture. Nevertheless, both national cultures share understanding of lyricism as expression of feelings. Comprehension of specifics of lyricism in Ukrainian and French songs will allow the students in their practical work to choose the degree of revealing of emotions suitable to the essence of the performed songs; that, subsequently, will result in the performance being stylistically loyal. At the same time, similarities in interpretation of lyricism allow to overcome any cultural or language barriers.
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Chernysheva, Ekaterina N., i Svetlana A. Tyaglova. "FORMATION OF CULTURAL VALUES OF STUDENTS IN THE PROCESSING OF RUSSIAN FOLK SONGS". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 42 (2021): 223–30. http://dx.doi.org/10.17223/22220836/42/19.
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The article proposes the author's version of the in-depth work with the folk original source, which contributes to the formation of cultural values of students in the course of the Arrangement course of the teaching course Academic Choir at the Tyumen State Institute of Culture. A distinctive feature of the course is the regional component – Russian folk songs of the Tyumen region and the region are used as musical material for student work. As part of the study, we identified the following contradictions: – between the prescription of the State educational standards on interdisciplinary disciplines, the student's ability to navigate in the diversity of culture and the competences offered by the curriculum for the discipline “Arrangement”, which are focused on creating a new creative product; – between the student’s constant need for creative self-realization and the insufficiently high level of his creative skills; – between installations of legislation in the field of education for the education of the individual with a high level of education, morality, and value installations that are incorrectly laid down by the mass culture. Therefore, we position the processing of a folk song not as an end in itself, but as a means of personal involvement of the student in the culture of his people, the transmission of sociocultural experience between generations. The goal of the “Arrangement” course is to create a value attitude of students to Russian culture in the process of creative work with a folk original source (Russian folk song) by expanding the course’s objectives to interdisciplinary and research (problem-searching, creative, heuristic, etc.), activating cognitive and creative activity of students. Formation of students' value attitude to the Russian folk musical culture in the process of creative work with a folk song, we propose to carry out at the following stages: search, motivational-incentive, research, analytical, creative, performing. Through contact with the sample of Russian song and its transformation, a student's interest in his origins, his pedigree, and cultural norms in the way of life and art is awakened. The effectiveness of the formation of cultural values of students through the Russian folk song is determined under the condition of positive motivation and initiative of students to learn cultural values, subject-subject interaction between the teacher and the student, enhancing independent cognitive activity, introducing the student to artistic creativity, creating conditions for self-discovery.
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Pivnitskaya, Olga V. "The Peculiarities of Intonational Approach Realization within the Course of Folk Solfeggio Based on Russian Traditional Culture". Musical Art and Education 7, nr 1 (2019): 120–31. http://dx.doi.org/10.31862/2309-1428-2019-7-1-120-131.
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The given article touches upon reasonability and perspectivity of the development of intonation approach to the mastering of learning material at folk solfeggio lessons. As is known folk-oriented musical education has a long history in Russia. Meanwhile song folklore has always been an integral part of national and world music culture. During the historical revolution two trends in national ethnomusicology have developed. The first one is studied as a consistent logical system while the second one is connected with the detection of unique features of Russian folk music in different regions. The two main trends can be noted in the basic approaches to the mastering of folk singing and they are designated as authentic and scenic. Within the frameworks of the authentic trend there are two independent trends specific for folk singing. The first one implies the mastering of folk singing without in-depth study of one or several regional trends and the second one is aimed at studying of any specific folk-song tradition by students. The conducted analysis gives ground to extract two basic trends that have developed in musical education pedagogy where the first one takes folk-song examples as solfeggio materials and the second one studies folk songs as independent artistic value in folk-song material rendering. Minding the fact that the main goal of folk solfeggio is to develop ethnical hearing and ethnical intonation, learning material should mind different approaches to its mastering. So the learning material aimed at mastering of Russian song material within the scenic trend should include song examples mainly as invariants while for the authentic one there should mainly be the examples with a variative component.
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Воробьев, В. А. "“Within the First Few Minutes God Created Universities”: Collective Memory and Personal Narrative". ТРАДИЦИОННАЯ КУЛЬТУРА 25, nr 1 (29.03.2024): 92–108. http://dx.doi.org/10.26158/tk.2024.25.1.006.
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В статье рассматриваются различные контексты бытования студенческой песни «В первые минуты бог создал институты…», возникшей в ХХ в., но аккумулирующей различные слои песенной культуры русского студенчества XIX–ХХ вв. Прослеживаются линии бытования студенческой песни через коллективную память, сохраняющую устойчивые содержательные элементы студенческой песни XIX в. — пьянство студентов и топику, связанную с идентичностью сообщества. Учитываются также личные нарративы, которые влияют на бытование и вариативность текста, превращая песню если не в полноценную биографию исполнителя, то во фрагменты биографии с основными этапами студенческой жизни. Специально анализируется политическая топика, обретенная студенческой песней на рубеже веков и продолжающая включаться в тексты студентов во второй половине ХХ в. Часть исследования посвящена рассмотрению студенческой песни как части традиции русской parodia sacra, а также ритуальным структурам и бюрократическим элементам, позволяющим отечественной сакральной пародии жить вплоть до эпохи постфольклора и традиций городской песни ХХ в. Специально рассматриваются механизмы, влияющие на вариативность песни «В первые минуты бог создал институты…», а также широкий контекст происхождения песни — от военной песни на стихи Константина Симонова через авторскую переработку Владлена Бахнова до многообразия вариантов во второй половине ХХ в. This article considers various contexts of the student song “Within the First Few Minutes God Created Universities,” which emerged in the twentieth century, but which reflects various layers of Russian student song culture of the nineteenth and twentieth centuries. The song preserves elements of nineteenth-century student songs that may be said to belong to the collective memory. This includes the theme of student drunkenness and topics connected with the identity of the community. The performer’s personal narrative is also present. This helps account for the existence and variability of the text, turning the song, if not into a full-fledged biography, at least into fragments of biography, that mention the main stages of student life. The article also analyzes the political topics that began to appear in student songs at the turn of the century and that continued to be included in student texts of the second half of the twentieth century. The study also examines student song as a part of the tradition of Russian parodia sacra, considering the ritual structures and bureaucratic elements that allow domestic sacred parody to survive in the post-folklore era and in the context of twentieth-century urban song traditions. Mechanisms influencing variations of the song “Within the First Few Minutes God Created Universities” are also examined, as well as the song’s development from a war song based on Konstantin Simonov’s poems to author Vladlen Bakhnov’s reworking of the song, to later variants.
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Burmatov, Maksim Andreevich. "The theme of labor in the Soviet mass song of the 1930s." PHILHARMONICA. International Music Journal, nr 6 (czerwiec 2021): 9–19. http://dx.doi.org/10.7256/2453-613x.2021.6.36655.
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The article is devoted to the analysis of the theme of labor in the Soviet mass song of the 1930s. The purpose of the study is to reveal the poetics of mass song labor in the context of the Russian musical culture of the 30s of the twentieth century. The author points out that the mass song is one of the most interesting phenomena of Soviet culture. It is rightly noted that being a product of the socialist era, the mass song was designed to solve the tasks of mobilizing a significant number of people for labor feat, without which it was unthinkable to successfully build a new life in the young Soviet state in the first decades of its formation after the October Revolution of 1917. It is stated that the song of those past years reflected the typical features of song art aimed at developing an optimistic spirit, strong will and self-confidence among Soviet citizens. The article examines the characteristic features of the mass song of the 1930s, analyzes the goals of its dissemination, the main images popularized in the texts of this type of songs, as well as their influence on the consciousness of the Soviet people. The theoretical significance of the research is determined by his contribution to the development of the problems of pop music art as an integral part of Russian culture.
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Orlitsky, Yu B. "Siberian Free Verse of the 1920s – 1930s: General and Special in a New Poetic Form". Studies in Theory of Literary Plot and Narratology 15, nr 2 (2020): 129–55. http://dx.doi.org/10.25205/2410-7883-2020-2-129-155.
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Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.
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Золотова, Татьяна Аркадьевна, Наталья Игоревна Ефимова i Екатерина Андреевна Плотникова. "Traditions of Russian Folklore in Mari El Republic (Folk Calendar of Russian Migrants)". ТРАДИЦИОННАЯ КУЛЬТУРА, nr 5 (10.12.2019): 35–52. http://dx.doi.org/10.26158/tk.2019.20.5.003.
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В настоящей статье предложено описание календарных обрядов (зимних, весенних, летних и осенних) в пределах одной локальной традиции. В основе статьи - материалы, собранные на территории северо-восточной части Республики Марий Эл (Мари-Турекский, Новоторъяльский, Сернурский, Куженерский, частично Килемарский районы) по единой программе фольклорными экспедициями Марийского государственного университета в Республике Марий Эл (руководитель - профессор Т.А. Золотова) на протяжении последних десятилетий ХХ в. и первых десятилетий XXI в. Они представляют собой хронологический срез календарного фольклора 20-30-х годов XX века. Выводы о региональном своеобразии народного календаря вятских переселенцев РМЭ делаются на основе сопоставления определенных обрядовых действий всех населенных пунктов в пределах одного района, затем районов между собой и, наконец, всего контента календаря вятских переселенцев с календарно-обрядовыми традициями и фольклором Кировской области. Среди обрядовых действий и текстов для специалистов в данной области интерес могут представлять описания традиций ряженья и гаданий в период зимних Святок, катаний на шестах на Масленицу, действий с троицкой березкой, а также текстов подблюдных гаданий, вечерочных (гулевых) песен, хороводных (круговых) и троицких песен. The given article contains a description of calendar rites (winter, spring, summer and autumn) within one and the same local tradition. The material presented was collected in the area of the northeastern part of Mari El Republic (Mari-Turekskiy, Novotorjal'skiy, Sernurskiy, Kuzhenerskiy, partially Kilemarskiy regions) according to a programme of ethnographic expeditions of Mari State University conducted by professor Tatyana Zolotova from 1980s till present. Chronologically, the materials correspond to the calendar folklore of the 1920-1930s. Conclusions concerning regional peculiarities are drawn on the ground of consistent juxtaposition of certain ritual actions of all settlements within one region, of regions themselves, and of the whole calendar of Vyatka’s migrants with calendar rites and folklore of Kirov region. Among the ritual actions and texts, descriptions of fortune telling and mummers on Christmastide, katanie na shestah on Maslenitsa, actions with the Trinity birch tree, texts of podbljudnye fortune telling, youth party songs (vecherochnye, gulevye), round dance and trinity songs might be of a peculiar interest to a specialist in the field of ethnography.
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Deryugina, Lyudmila V. "M.A. Maksimovich as the Addresse of N.V. Gogol's Letters (From the Commentary)". Literary Fact, nr 2 (28) (2023): 89–102. http://dx.doi.org/10.22455/2541-8297-2023-28-89-102.
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The article is devoted to the relationship between N.V. Gogol and M.A. Maksimovich (1804–1873), his fellow countryman from the Poltava region. In his family there were writers and professors, they were proud of it, and Maksimovich himself from childhood dreamed of becoming a professor of botany in Moscow, but became a professor of Russian literature in Kiev and as a philologist and historian lived a fruitful scientific life. With Gogol he was brought together by his love for Little Russian songs. For the famous collection of songs by Maksimovich, Gogol offered several of his recordings and took part in its publication. Both were enthusiastic about the unrealized project to occupy university departments in Kiev together and turn it into a “new Athens,” launching an extensive educational program there. Their relations, invariably warm, were almost in absentia, until the autumn of 1849, when at the end of October Maksimovich arrived in Moscow, where Gogol then lived, and remained there for more than six months. In June they went together to their native lands, and in August 1850 Maksimovich visited Gogol in his village of Vasilyevka. Botany classes during the trip gave Gogol knowledge about Russia, important for the continuation of “Dead Souls.” Maksimovich, in his turn, left a portrait of the writer marked by professional observation and at the same time sympathetic understanding.
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Bukhogolova, S. B., i B. L. Tushinov. "Folklore of Olkhon Buryats in the S. P. Baldaev fond of The Center of oriental manuscripts and xylographs of IMBT of SB of RAS". Orientalistica 6, nr 3-4 (19.11.2023): 705–27. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-705-727.
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The article offers a translation from Buryat into Russian of the folklore materials collected by the ethnographer S. P. Baldaev during his expedition to the Olkhon region in 1962. The source base for the study is case No. 616 on 18 pages from the fund No. 36 “Folklore of the Olkhon Buryats (songs, legends)”. Of interest are the songs that reveal the traditional way of life of the Olkhon Buryats. The novelty of the study is due to the low level of knowledge of the original folklore of the Olkhon Buryats, which is a significant part of the heritage of S. P. Baldaev, who has not yet become the object of a special study. The purpose of the article is to introduce the folklore of the Olkhon Buryats of the specified fund into scientific circulation through translation of texts and their analysis. When translating, the established principles of scientific translation of folklore texts are applied, taking into account three main factors: language, content and context of the original. In other words, the authors tried to follow the original, avoiding unnecessarily adapting Buryat texts to the Russian language and not trying to achieve a beautiful artistic translation into literary Russian.
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Melichárek, Maroš. "War Song in a Service of Ideology. Comparative Essay on the Example of Yugoslav and Ukrainian-Russian Conflicts". Balkanistic Forum 30, nr 3 (5.10.2021): 148–68. http://dx.doi.org/10.37708/bf.swu.v30i3.7.
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Both the official army music and combatants’ informal folk songs have always played a noteworthy role in their respective societies regardless whether this music was created as means of actual propaganda or subsequently as part of reinvented commemorative culture. This article focuses on comparison of the two most recent European armed conflicts, namely 1) the ethnically motivated conflicts in former Yugoslavia between 1992 and 1995/1999, and 2) the interethnic violence followed by Russian military intervention in Ukraine in 2014; the Russo-Ukrainian conflict has not yet been settled and still threatens to escalate. Building on wide range of primary and secondary sources (mainly of Western, Central and South-Eastern European provenience) that has been ignored by a regional scholarship, the paper seeks to provide a contextual background behind the war songs and to compare their prevalent patterns and typology of their inner dynamics and transformations. This paper will not inquire into international, economical or military implications of the aforementioned armed conflicts; it will focus specifically on textual and contextual analysis of those songs. Study brings completely new insights on phenomenon of war songs in East European and former Yugoslav environment and brings much-needed light on the intertwined social, cultural and identity relations that can be established between the former Yugoslav and post-Soviet countries. This topic is very important since state doctrine, national narratives, historical memory affect current and also future development of both regions what is clearly visible on elaborated material.
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Zhang, Min. "The concepts of “Motherland” and “State” in Russian language". Litera, nr 1 (styczeń 2024): 312–21. http://dx.doi.org/10.25136/2409-8698.2024.1.69218.
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The subject of the study is the concepts “Motherland” and “State”, their synonyms and associative images in Russian songs and Russian language, including Russian phraseological units, proverbs and sayings. The first concept is understood as a small homeland and a large homeland. Each person has his own small homeland, which is associated with place of birth, family, house, street, village, town, etc. The large homeland in a broad sense refers to the native country. The small homeland is part of the big homeland. These concepts play a role in the formation of Russian person’s national consciousness, spiritual values, worldview, character and personality. The purpose of this work is to clarify their meanings and differences in Russian language and in Russian people’s consciousness. Research methods include descriptive, associative, comparative methods, methods of synthesis and generalization, and semantic analysis. When analyzing and comparing the concepts “Motherland” and “State”, this work examines the images reflected in the texts of Russian songs about these concepts and language examples in Russian phraseological dictionaries. The conducted research shows that the term “Motherland”, associated with national history, culture and ethnic identity, has a spiritual psychological flavor. The term “State” with a social meaning is defined as a political, legal, economic form of organization of human society. This concept is associated with the images of “law”, “authority”, “army/armed force”, “citizen”, etc. Clarifying the differences in their semantics in Russian language helps speakers of other linguistic cultures to better understand their significance in Russian people’s history, culture and consciousness, their role and influence on the formation of Russian people’s national psychology and spiritual world. The study of these concepts has prospects for expanding foreign students' vocabulary, deeper understanding of the Russian language, culture, people, its spiritual world and their relationships and enriching their cultural, linguistic and personal experience.
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Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing". Muzikologija, nr 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.
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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
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Воропаева, Валентина A. "Певец кыргызского комуза". Studia Orientalne 6, nr 2 (2014): 241–54. http://dx.doi.org/10.15804/so2014214.
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The author presents the figure of Aleksander Zatajewicz (1869–1936), famous Russian/Soviet ethnographer and composer. Zatajewicz was of Polish descent, in years 1904–1915 he worked in Warsaw. He became a part of history of Kazakhstan and Kyrgyzstan, as he was the first to take on the challenge to collect the Kazakh and Kyrgyz melodies and folk songs and to write them down in notation. Zatajewicz zeal in this difficult task can be best illustrated by numbers. In 16 years (1920–1936) he has collected and written down 2 600 melodies and folk songs from Central Asia, Altai and Siberia, and affixed them with his own commentaries. His work is recognized and respected in Kazakhstan and Kyrgyzstan even today
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Abdokov, Yuri B. "A Lurking Terrain by Margarita Kuss: Orchestral Style and Timbral Poetics". ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, nr 3 (2023): 62–78. http://dx.doi.org/10.35852/2588-0144-2023-3-62-78.
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The stylistic features of orchestral writing by Margarita Ivanovna Kuss (1921–2009) are examined in this article for the first time in Russian art studies. Her music was performed by the best Russian ensembles and conductors. M. Kuss was a musical authority for the leading musicians of the Soviet Union. For many years her house was a centre of attraction for the greatest modern Russian composers (D. Shostakovich, N. Peyko, B. Tchaikovsky, R. Bunin, M. Weinberg, G. Sviridov, G. Ustvolskaya). M. Kuss opinions and appraisals were valuable not only for the young composers, but also for world-known masters A Poem based on Russian Folk Songs (1961), A Lyrical Poem (1988), Three Poems: A Distant Spring, An Evening Song, An Evening in Light (1994) — these are the parts of a meta-cycle. And the last part of it is a symphonic poem A Lurking Terrain (1999–2000), first performed at the Large Hall of Moscow Conservatory on December 21st, 2002. The Tchaikovsky Large Symphony Orchestra was conducted by Vladimir Fedoseev. The composer's style in this score is embodied in a most impressive form. The research methods used in this article, along with the analysis of the composer's and conductor's phenomenology, could be used in further studies of the large symphonic legacy of M. Kuss. It is important both in the research context, and in the musician's practice.
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Safonova, Victoria V. "Creative Writing as Part and Parcel of Developing Communicative & Intellectual FL Learners’ Powers". European Journal of Social Science Education and Research 5, nr 1 (1.04.2018): 130–41. http://dx.doi.org/10.2478/ejser-2018-0014.
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Abstract For many years in ELT methodology the questions of teaching writing in ELT coursebooks have been given much attention in terms of its nature, differences between written and spoken speech, ELT objectives and approaches to teaching writing, types of writing genres, writing assessment. But one rather neglected area in that regard is a graded teaching of creative writing to FL learners. The fifteen-year experience with organizing language-and-culture competitions launched by the Research Centre “Euroschool” for foreign language /FL/ students across Russia have proved that even intermediate FL learners, not to speak about advanced students are quite capable of writing in a FL: a) poems and songs expressing their ideas about teenagers’ lifestyle & visions of contemporary world; b) short stories describing family and school life experiences of their own or their peers; c) essays based on their comparative study of native and foreign cultures; d) presentations of Russian culture & other cultures of the Russian Federation in an English environment while being on exchange visits; e) translations of English poetry, short stories, excerpts from humours books, stripes of comics. The paper compares teaching creative writing in Russian and English, discusses the questions arisen from the outcomes of the language-and-culture competitions, arguing that effective teaching of creative writing presupposes: 1) teaching a FL in the context of the dialogue of cultures and civilizations, 2) introducing creative writing into a FL curriculum, 3) designing a package of thought-provoking teaching materials aiming at developing communicative, intellectual & mediating learners’ powers, 4) applying appropriate assessment scales for observing the dynamics of learners’ development as creative writers, 5) marrying students’ bilingual and crosscultural/ pluricultural classroom activities stimulating their participation in language-and-culture competitions.
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Shumkina, I. V. "Linguopragmatic capability of quotes and sayings from the bard songs (based on media articles)". Vestnik of Samara University. History, pedagogics, philology 27, nr 4 (30.12.2021): 190–97. http://dx.doi.org/10.18287/2542-0445-2021-27-4-190-197.
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The article examines the linguopragmatic capability of quotes and sayings from the bard songs, which have become one of the sources to replenish the intertextual database of Russian culture. The analysis of intertextual units (logoepisthemes, precedent phenomena, etc.) and their functional features is one of the topical issue for the modern communicative-pragmatic approach to language. The material for the research was socio-political newspaper and magazine articles with fragments from Yuri Kukin's song Za tumanom. The inclusion of these fragments in the intertextual database is evidenced by the absence of references to the author and quotation marks. The article gives the socio-cultural and linguistic characteristics of quotations, examines their semantic, stylistic and structural transformations in media texts. The popularity of the phrases is due to the historical and cultural signifi cance of the song and timeless life philosophy presented in the songs lyrics. It provides the representative scope of quotes and catchphrases that are used by journalists as illustrations of culturally signifi cant phenomena and help to draw analogies that determine the interpretation of newspaper material. It has been established that the lyric and poetic nature of the refrain, the colloquial coloration of the beginning, as well as the self-irony of the lyrics allow journalists to use quotes from the song in a wide range of contexts that diff er from thematic and stylistic points of view. Quotes from the song are used in newspaper and magazine publications to create diametrically opposed stylistic connotations from sublime to rude swearing. It was revealed that the linguopragmatic capabilities of quotations are enhanced by their semantic and structural transformations. The refrain of the song is most transformed songs part in the media texts. The following types of its semantic transformation were identifi ed: semantic simplifi cation, universalization and literalization. Among the structural transformations are lexical and grammatical transformations, the contamination of quotations and the isolation of the key component. The research allows to clarify the lexicographic data and enhance the understanding of the bard song as a source of logoepisthems and precedent phenomena in modern language practice.
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Джанумов, Сейран Акопович, i Ирина Николаевна Райкова. "Peter the Great and His Time in Russian Song and Prose Folklore". ТРАДИЦИОННАЯ КУЛЬТУРА, nr 3 (25.09.2021): 11–25. http://dx.doi.org/10.26158/tk.2021.22.3.001.
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В статье, посвященной 300-летию Российской империи и 350-летию со дня рождения Петра Великого, речь идет об отражении в фольклоре петровского времени некоторых важных военных событий: Северной войны со Швецией 1700-1721 гг. и ее кульминации - Полтавской битвы. Отмечается, что в исторических песнях о Северной войне есть не только изображение военных событий, но и окрашенный лиризмом, психологически верный показ душевного мира персонажей, их ожиданий и надежд. Представляет интерес и песня о русских солдатах, готовящихся к сражению со шведами, с иносказательным мотивом приготовленного врагам «угощения». Внимания заслуживает и устная историческая проза Петровской эпохи: предания, легенды, анекдоты и сказки. Воображение народа пробудила неординарная личность первого императора России и необычный образ жизни этого царя, «работника на троне». Так, смелое решение Петра I - перелить часть монастырских колоколов в пушки - отразилось в нескольких преданиях и анекдотах: эта идея приписывается и пушечному мастеру, и мудрому патриарху, и самому царю. Резко выражены социально-политические конфликты и мотивы в исторических песнях, анекдотах и бытовых сказках об А. Д. Меншикове. В песнях народное недовольство неблаговидными деяниями петровского временщика выражено прямо, в едкой и насмешливой форме. В фольклорной прозе противоречивость натуры царского фаворита и сподвижника передается более тонко, как, например, в сказке о царе и кузнеце, в одном из вариантов которой кузнецом оказывается Меншиков. Безбоязненно обличается в исторических песнях и преданиях взяточник и казнокрад, первый сибирский губернатор М. П. Гагарин, казненный за свои провинности по приказу Петра I в 1721 г. Сделан вывод, что в исторических песнях и устной прозе наблюдаются жанровые отличия в изображении Петра I и его времени, и только во всей совокупности текстов разных жанров образы людей и событий представлены разносторонне, с присущими им противоречиями, передающими не правду факта, а дух эпохи. This article, dedicated to the 300 th anniversary of the Russian Empire and the 350 th anniversary of Peter the Great’s birth, deals with the Great Northern War of 1700-1721 and its culmination, the Battle of Poltava, as they are reflected in the folklore of Peter’s time. Historical songs about the Great Northern War not only feature military events, but also present a lyrically colored, psychologically convincing portrayal of their characters. The songs include one about Russian soldiers getting ready for battle with the Swedes preparing various allegorical “dishes” prepared for their enemies. The article also examines the oral historical prose of the era, including legends, anecdotes and fairy tales. The extraordinary personality of the first emperor of Russia and his unusual way of life as “a worker on the throne” caught the people’s imagination. Several legends and anecdotes describe Peter’s decision to recast monastery bells as cannons, an idea they attribute to the cannon master, the patriarch, and to the tsar himself. Historical songs, anecdotes and household tales about A. D. Menshikov express socio-political conflicts and motifs. The songs reflect discontent with the unseemly deeds of Peter’s favorite and associate in a caustic and mocking form. In folklore prose, Menshikov’s contradictory nature is conveyed more subtly, as, for example, in a fairy tale about the tsar and a blacksmith, in one variant of which Menshikov himself turns out to be a blacksmith. Other historical songs and legends denounce M. P. Gagarin, the first governor of Siberia, bribe-taker and embezzler, whom Peter the Great had executed for his crimes in 1721. The image of Peter the Great and his time differs in historical songs and oral prose, due in part to differences in genre. However, taken in their entirety, the texts present a multi-faceted picture of people and events that, along with their inherent contradictions, convey not the factual truth but the spirit of the era.
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Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music". Observatory of Culture, nr 1 (28.02.2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.
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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.
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Balmatova, T. M. "Plant and Animal Names in the Flamenco Poetry". Linguistics & Polyglot Studies 8, nr 1 (29.03.2022): 103–13. http://dx.doi.org/10.24833/2410-2423-2022-1-30-103-113.
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The song is capable of telling a lot about the spiritual life, traditions, feelings, aspirations of the people; it presents to the listener (or to the reader if it is a written text) the facts and events that left their mark on the social conscience of a certain country at a given stage of its historical evolution. Flamenco songs, belonging to the culture of dance and song cultivated in southern Spain with their variable content, often contain description of landscapes, names of plants and animals. Flamenco culture is precious and original, but despite its popularity beyond Spain, the texts of its verses published in numerous collections in Spanish have not yet attracted due attention of Russian researchers. Except for some verses translated into Russian at the beginning of the 20th century by Konstantín Balmont, our compatriots don´t know these poems. So it is essential and timely to focus on poetic texts in order to understand the role and functions of zoonyms and phytonyms in the creation of the linguistic picture of the world that is reflected in the verses. To achieve this objective, we applied the methods of cultural analysis, descriptive, comparative and solid sampling methods and also synchronic and diachronic approaches to the study. As an analytical basis for our investigation, we use Manuel Balmaseda’s verses from the book Primer cancionero de coplas flamencas populares según el estilo de Andalucía and popular songs compiled by Antonio Machado y Álvarez Cantes flamencos recogidos y anotados por Antonio Machado y Álvarez (Demófilo). The research allows us to draw the following conclusions: the metaphorical value of phytonyms endows the verses with an allegorical meaning, which allows us to discover several narrative layers in the same text. Certain species of plants are loaded with centuries-old symbolism, especially in the field of love. Zoonyms are not numerous and are often part of proverbs and set phrases. In some cases, the relationship with events described in the hagiographic compositions has been detected.
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Zhurkova, D. "Soviet Pop Artists in Russian TV Series: Integration of Dramatic Models of Psycho- and Socio-Biography". Versus 2, nr 5 (8.08.2023): 91–110. http://dx.doi.org/10.58186/2782-3660-2022-2-5-91-110.
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This article deals with the dramaturgical and musical patterns of modern Russian television biopic series about Soviet pop artists. The concept of psycho- and sociobiography as developed by the Polish researcher Eva Mazerski is used as a means of analysis. The first section describes the regularities of particular dramatic models and traces their development in late Soviet cinema. The second section examines the convergence and integration of these dramatic models on the basis of extensive material drawn from Russian TV series dedicated to Soviet pop music stars. Special attention is paid to two series: Anna Herman. The Mystery of the White Angel (2012) and Born a Star (2015) with elements from the biography of Edita Piekha. In the final part of the article the soundtrack of these two series is analysed making use of the psycho- and sociobiographical model. On one hand, one can identify how the songs played in these series correlate with the dramatic collision of the episodes in which they appear. On the other hand, one can also identify the principles behind the selection of repertoire. These can be traced, in particular, to the ratio of songs related to civil and lyrical subject matter. The article concludes that, if in the late Soviet period the models of psycho- and sociobiography still exhibited some autonomy, an autonomy inversely proportional to the ideological consistency of the film, then the current stage is determined by the active convergence and integration of two models that no longer exist in their ‘pure’ forms. As for the musical dramaturgy and selection of repertoire in the soundtrack, Soviet pop star series continue to develop an active lyricisation of the Soviet scene, replacing civil and patriotic themes with foreign hits. Nevertheless, playing Soviet pop songs serves to reconfigure the cultural and historical context of the past.
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Sokolova, Marianna E., i Marina V. Artamonova. "Heroes, Antiheroes of Modern Russian Youth". Общество: социология, психология, педагогика, nr 11 (29.11.2023): 17–22. http://dx.doi.org/10.24158/spp.2023.11.1.
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The article examines the issue of the formation of group identity among young people. Heroes of the time act as symbolic value-behavioral complexes, they are part of the conceptual apparatus for analyzing changes in attitudes towards historical personalities, historical memory as the basis of solidarity. The current state is char-acterized by trends of changes in value attitudes among Russian students, which inevitably affects social soli-darity. The theoretical apparatus is based on an appeal to the classics of sociology (E. Durkheim), the concept of anomie is considered in relation to the current period. A hypothesis of the causes of the state of disunity is formulated based on the destruction of the feedback mechanism in traditional methods of forming social soli-darity. In his cultural forms of behavior, a person relies on eternal truths, formulated in the form of moral imper-atives, captured in traditional forms (songs, fairy tales) and institutional practices of conveying meanings and patterns of behavior (upbringing, education). Heroes and anti-heroes act as triggers for the fragmentation of youth and Russian society. The article presents the results of a 2022 pilot survey of university youth, character-izing attitudes towards personalities of Russian history (authorities). The results obtained are compared with secondary data from 2023 surveys.
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Tolkacheva, Svetlana Viktorovna. "Hair symbolism in the Russian wedding folklore of Udmurtia". Philology. Issues of Theory and Practice 16, nr 11 (21.11.2023): 3939–48. http://dx.doi.org/10.30853/phil20230601.
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The aim of the research is to conduct a culturological and mythopoetic comparative description of the meanings of the symbol “hair” using the material of a traditional Russian wedding taking place on the territory of Udmurtia. The scientific novelty lies in the holistic study and systematization of the different meanings of the symbols marking the bride’s hair – in identifying poetic motifs and plots of wedding song folklore, in analyzing the context of the event code of the ceremony – within the framework of the Russian dialect tradition of one region. It is the first time that new wedding episodes described by informants, original songs, including unique ones for this territory, are introduced into scientific use. The paper analyzes the texts in which the parameters of the time code are involved, gives examples with a poetic description of the “instantaneous” combination of the past and the future in the bride’s life. It is the first time that facts rare for this tradition from Old Believer villages are indicated, i.e. the gifting of a scarf by the mother-in-law as a symbol of the bride’s acceptance into a new family and the redoing of the bride’s hair into three braids. As a result, it has been proved that in the wedding ritual, the attitude to hair is iconic. In the popular view, it is associated with the cyclicity of natural time and the time of human life, with the influence of the elements on the time and space of the ritual “transition” of the bride, with the understanding of its value as a part of the external appearance of the bride and as the embodiment of the moral foundations of society itself. Human somatics is projected onto plants and birds; it correlates with mythological images focused on similarity with graphic forms (circle, pipe).
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Bugrysheva, Ekaterina, i Andrey Moiseev. "Realia (culturally specific lexical units) as «ours» and «theirs» in rapper Oxxxymiron’s texts". Philology & Human, nr 3 (7.09.2021): 183–88. http://dx.doi.org/10.14258/filichel(2021)3-15.
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The article deals with domestic and foreign realia (considered as culturally specific units) in the song lyrics by the rapper called Oxxxymiron. The paper starts with the definition of realia, specified according to the authors’ point of view. The research is concentrated on the comparison of the classifications of «our» and «their» culturally specific units in the Russian rapper’s creative texts. The hypothesis consists in the assumption that foreign realia prevail in the singer’s lyrics. The lexical units under discussion are divided into eleven classes: geographical names; words referring to science, art and the media; names of historical events; realia naming various organizations etc. The charts with a detailed quantitative analysis of the selected realia are presented in the article. The results of the qualitative analysis of the considered lexical units are given in the concluding part. The authors form the opinion that the formulated hypothesis proves right. Thorough research into the song lyrics marked with realia is considered to facilitate a better understanding of the cultural component in these songs, as well as the influence of the author’s personality on their creative product.
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Ivanauskaitė-Šeibutienė, Vita. "The Great Songbooks: Origins of the Academic Lithuanian Folksong Edition in Folklore Publications by Brothers Juška". Tautosakos darbai 57 (1.06.2019): 200–223. http://dx.doi.org/10.51554/td.2019.28433.
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The aim of the article is revealing the origins of the academic edition of the Lithuanian folksongs. The subject of analysis comprises the folklore heritage of the most famous collector of the traditional Lithuanian culture from the 19th century, including folksongs, wedding customs, and lexical data – priest Antanas Juška (1819–1880). He recorded over 7000 of Lithuanian folksongs, including 1852 melodies. Juška accumulated the majority of these songs during a comparatively short period of time, i. e. approximately in 1864–1871, and in a rather small locality of Lithuania – namely, the Veliuona parish, from about 150 performers. When editing folklore manuscripts for publication, Antanas Juška received help from his brother, linguist and pedagogue Jonas Juška, who lived and worked not in Lithuania, but in various places across the Russian empire, staying in Kazan for a longer period of time with his family. In 1880–1883, two folksong books edited by brothers Juška were published in Kazan and St Petersburg: Lietuviškos dainos (‘Lithuanian Songs’, 3 volumes comprising 1569 songs), and Lietuviškos svotbinės dainos (‘Lithuanian Wedding Songs’, 1100 songs). A detailed description of the 19th century Lithuanian wedding customs recorded by Antanas Juška in Veliuona also saw publication. It is noteworthy, however, that these publications took place during the period of banning the Lithuanian press in Latin alphabet that the tsarist Russian regime introduced following the uprising of the 1863. The possibility to publish the folksong books by brothers Juška in Lithuanian was the result of an active campaign by professor of the Kazan University Baudouin de Courtenay and other members of the Russian Academy of Science, who supported Lithuanians and the Lithuanian culture. Antanas Juška collected folklore in a rather different way from his earlier colleagues – collectors and publishers of the Lithuanian folklore. He was the first in the history of the Lithuanian folklore to provide detailed data on his informants, as well as indicating places of recording and presenting multiple variants of the recorded folksongs. Besides, he sought collecting not only the most ancient and poetic folksongs (as was customary in the 19th century and later), but attempted recording all the traditional lore of the time, refusing to differentiate between the old and the new, valuable and worthless, beautiful and plain songs. The author of the article focuses on his personality, attempting to establish the features of his character that determined such intense ethnographic activity. According to his contemporaries, Antanas Juška was a lively person and a popular priest, maintaining close connections with his folklore performers. Exactly 100 years after the publication of the first part of Antanas Juška folksong book, the academic multivolume publication of the Lithuanian folksongs was launched in 1980 in Vilnius. The origins of the principles of academic edition adopted for this publication (e. g. introducing the folksong variation, dialectological editing, detailed registering of the performers’ data, etc.) can be easily recognized in the folklore publications by Juška. Besides, all the hitherto published 24 volumes of various folksong genres include songs recorded and published by Juška. Folklore materials that he recorded also come useful for the scholarly commentaries to the songs. The article also discusses the appreciation of the folksong books by brothers Juška – both at the time of their publication in the second half of the 19th century and later.
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Теплова, И. Б., i Ю. А. Карась. "Kostroma Folklore as Recorded by Sergey Lyapunov and Fyodor Istomin: To the 130th Anniversary of the Second Scientific Expedition of the Song Commission of the Russian Geographical Society". OPERA MUSICOLOGICA 16/2, nr 2024 (26.06.2024): 18–41. http://dx.doi.org/10.26156/operamus.2024.16.2.002.
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Статья посвящена результатам второй экспедиции Песенной комиссии императорского Русского географического общества, состоявшейся в 1893 г. с участием С. М. Ляпунова и Ф. М. Истомина. Авторы прослеживают обстоятельства полевой работы, научное значение материалов костромского маршрута. В исследовании представлены наблюдения о сохранности форм музыкального фольклора, который фиксировали собиратели на территории Верхнего Поволжья в 1970-е и в 2020-е гг. Сравнение записей разных лет свидетельствует об утратах свадебных, лирических песен и вместе с тем — о бытовании жанра причитаний в костромских деревнях вплоть до начала ХХI в. Сопоставление причитаний и свадебных песен, услышанных С. М. Ляпуновым и Ф. М. Истоминым, со звукозаписями, выполненными в 1970-е гг. Т. В. Кирюшиной и А. М. Мехнецовым, показало стабильность композиционной и ритмической организации напевов. Тем самым в большой степени подтверждается достоверность слуховых нотаций, выполненных композитором. Очевидно, что материалы экспедиции Песенной комиссии составляют неотъемлемую часть общей картины, характеризующей народную музыкальную культуру Костромского края. The article is devoted to the results of the second expedition of the Song Commission of the Imperial Russian Geographical Society, which took place in 1893 with participation of Sergey Lyapunov and Fyodor Istomin. The authors trace the circumstances of the expedition work, the scientific significance of the materials from the Kostroma expedition route. The observations also present the data on safekeeping of forms of musical folklore, which were recorded by collectors in the upper Volga region in the 1970s and 2022–2023. Comparison of folklore samples from different years indicates loss of wedding and lyrical songs and, at the same time, popularity of the genre of lamentations in Kostroma villages until the beginning of the 21st century. A comparison of lamentations and wedding songs recorded by Sergey Lyapunov and Fyodor Istomin with sound recordings made in the 1970s by Tatyana V. Kiryushina and Anatoly M. Mekhnetsov showed stability of the compositional and rhythmic organization of the tunes. This largely confirms reliability of Lyapunov’s auditory notations. The materials of the expedition of the Song Commission form an integral part of the overall picture characterizing the folk musical culture of the Kostroma region.
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Mazo, Margarita. "Stravinsky's Les Noces and Russian Village Wedding Ritual". Journal of the American Musicological Society 43, nr 1 (1990): 99–142. http://dx.doi.org/10.2307/831407.
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This study presents Stravinsky's well-known ballet Les Noces as seen by an ethnomusicologist familiar with wedding rituals and, particularly, laments of Russian villages. The music of Les Noces, statements made by the composer himself, and the data gleaned from published sources of folk music (those Stravinsky is known to have come in contact with or those accessible to him) are juxtaposed with observations obtained in field interviews with Russian villagers who themselves were participants in wedding rituals and performers of wedding laments. The conceptual and structural ideas of Les Noces are compared to those of the village ritual. The examination of the role of laments and songs in the unfolding of the ritual, the use of ostinato, the analysis of the manner of singing and voice quality in laments, and an inquiry into the polyphonic forms based on polymorphic texture enable a fresh insight into Les Noces and the way Stravinsky handled materials derived from folk practice. The general conceptualization of the composition with its coalescence of high emotional intensity and, at the same time, personal detachment is traced to folk ritual where the episodes, being part of the ritual, embody primarily impersonal responses to the requirements of a ritualized situation, even though they are presented as highly tense and emotionally charged.
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Долгова, Д. К. "Folk Ural Melodies in Sergei Prokofiev’s Ballet “The Tale of the Stone Flower”". OPERA MUSICOLOGICA 16/2, nr 2024 (26.06.2024): 138–65. http://dx.doi.org/10.26156/operamus.2024.16.2.008.
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Последний балет С. С. Прокофьева «Сказ о каменном цветке» отражает итог работы композитора в данном жанре. Связи с народной культурой в балете проявляются на различных уровнях — сюжетном, музыкально-тематическом, драматургическом. В настоящей статье установлены народно-песенные источники музыкального тематизма балета, представленные в архивах и публикациях, приведены нотации. Прокофьев включает в партитуру напевы уральского фольклора, что указывает на понимание им своеобразия локальных традиций. Уточнен жанровый состав используемых образцов: свадебное причитание, лирические и хороводные песни. Часть заимствованного Прокофьевым материала ранее послужила основой его «Обработок русских народных песен для голоса с фортепиано» оp. 104, что позволяет расширить представление о принципах работы композитора с фольклорными источниками в различных жанровых направлениях. Обнаружено, что большинство народных мелодий служит основой тем сквозного значения. Специфика их функционирования в балетной музыке заключается в творческом переосмыслении Прокофьевым метроритмических, интонационных и композиционных параметров напевов. The last ballet The Tale of the Stone Flower displays the outcome of the development of Prokofiev’s work in this genre. Connections with the folk culture in the ballet manifest themselves at various levels — those of the plot, music themes and dramaturgy. This article establishes folk song sources of the music themes of the ballet presented in archives and publications, and provides appropriate notations. Prokofiev includes samples of the Ural folklore, which indicates his understanding of uniqueness of the local traditions. The genre composition of the samples used has been clarified, namely wedding lamentation, lyrical and round dance songs. A part of the borrowed material was previously used by the author of The Tale of the Stone Flower in his Arrangements of Russian folk songs for voice and Piano, op. 104, which makes it possible to expand understanding of the principles of composer’s interaction with folklore source in various music genres. Most tunes were found to play the role of through themes. The specifics of folk songs functioning in the ballet lies in Prokofiev’s creative reinterpretation of the rhythmic, intonation and compositional parameters of the melodies.
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Davitadze, А. G. "Ukrainian song «Ikhav Kozak za Dunaj» arranged by L. van Beethoven for piano trio and voice: genre and stylistic metamorphoses". Aspects of Historical Musicology 13, nr 13 (15.09.2018): 60–73. http://dx.doi.org/10.34064/khnum2-13.05.
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The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.
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Ratcliffe, Jonathan. "The Epic Legacy of Shono-Baatar". Inner Asia 24, nr 2 (12.10.2022): 279–302. http://dx.doi.org/10.1163/22105018-02302030.
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Abstract Compared with epic heroes such as Geser and Jangar who are widely popular among the Mongolic peoples of Inner Asia, the far less well-known epic of Shono-Baatar stems from a determinable and relatively recent historical basis: the eighteenth-century Dzungar prince Louzang Shunu and his seeking sanctuary from persecution by his relatives in the Russian Empire. While legends and short songs about this figure are widely attested from Kalmykia to Xinjiang, only among the Buryats has any full-length oral epic been preserved: a single specimen taken down from storyteller Sagadar Shanarsheev in 1936. Although Shanarsheev’s epic possesses a complex political and textual history, it was almost wholly unknown beyond a few scholars until its republication in a dual-language Russian-Buryat edition in 2015. Since then, it has increasingly become an important part of the symbolism of Buryat cultural identity and has even been hailed as a world-class epic equal to the Iliad and Nibelungenlied.
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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China". NAN NÜ 13, nr 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.
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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of the lives and poems of the three poets, and concludes that they represented a new stage in the development of Chinese women's poetry.
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Пашина, О. А. "History of Russian Musical Folklore Studies through the Eyes of Eugene W. Hippius: To the 120th Anniversary of the Scientist’s Birth". OPERA MUSICOLOGICA 16/2, nr 2024 (26.06.2024): 42–59. http://dx.doi.org/10.26156/operamus.2024.16.2.003.
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Статья посвящена воззрениям выдающегося исследователя народной музыки Евгения Владимировича Гиппиуса (1903–1985) на историю отечественной музыкальной фольклористики. Он считал важным изучение не только народной музыки как таковой, но и науки о музыкальном фольклоре, ибо это проливает свет на причины интереса к нему в определенные периоды прошлого, а также на эволюцию взглядов ученых. На основе анализа сборников народных песен конца XVIII — начала XX в., в которых отразилась позиция собирателей по отношению к народной песне, а также теоретических работ предшественников он выделил в рамках обозначенного времени три периода собирания и изучения музыкального фольклора в России. Критериями для периодизации послужили различия в типах сборников народных песен, появлявшихся на разных исторических этапах. Творческое, но одновременно и критическое отношение Гиппиуса к трудам ученых более раннего времени позволяло ему в научном диалоге с ними вырабатывать собственные методологические подходы к изучению музыкального фольклора, являющегося, по мнению Гиппиуса, частью общей истории музыки, которую можно исследовать только в контексте эволюции социальных отношений и человеческого мышления. The article is devoted to the views of the outstanding researcher of folk music Eugene W. Hippius (1903–1985) on the history of Russian musical folklore studies. He considered it important to study not only folk music as such, but also the history of the science of musical folklore, because this sheds light on the reasons for interest in it in certain historical periods, as well as on the evolution of scientists’ views thereon. Based on the analysis of collections of folk songs of the late 18th — early 20th centuries, which reflected the position of the collectors in relation to folk songs, as well as the theoretical works of his predecessors, he identified three periods of collecting and studying musical folklore in Russia within the designated time frame. The criteria for periodization were differences in the types of collections of folk songs that appeared at different historical stages. Нippius’s both creative and critical attitude to the works of his predecessors allowed him, in a scientific dialogue with them, to develop his own methodological approaches to the study of musical folklore. At the same time, the scientist believed that musical folklore is part of the history of music, which can only be studied in the context of social history and evolution of human thinking.
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Строганов, Михаил Викторович. "The image of the Karelian in Russian humorous folk rhymes (chastushkas) of the Karelians to the problem of Karelian-Russian cultural interference". ТРАДИЦИОННАЯ КУЛЬТУРА, nr 5 (10.12.2019): 53–64. http://dx.doi.org/10.26158/tk.2019.20.5.004.
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Тверская земля является местом коренного заселения карелов с XVII в., поэтому проблема национальных контактов русского и карельского населений оказывается очень актуальной для Тверской области. Эти контакты описываются обычно как бесконфликтные, а культурный обмен - как интенсивный и плодотворный, но в реальной практике со стороны русских существовала ксенофобия, которая усилилась в XX в. в период индустриализации, когда карелы стали переезжать в города. Отражение «мягкой» ксенофобии, иронии над чужим мы видим в частушках. В XX в. уровень национальной идентичности карелов постоянно понижался. Национальность не скрывается, но и не позиционируется, и даже население Лихославльского района собиратели-карелы называют карелоязычным, а не карельским. В результате культурной ассимиляции карелов от них записан большой корпус фольклорного материала на русском языке, русскоязычный фольклор тверских карелов. В этой ситуации особое значение приобретают тексты, в которых есть показатели идентичности. Когда исполнительница-карелка говорит: «Эх ты, русское наше приволье» - это означает не национальную, но государственную принадлежность. Можно выявить три вида карело-русской культурной интерференции. Первый - тематический: в частушках образ карела либо сопоставляется с русским, либо описывается сам по себе, но имплицитно чужая, внешняя точка зрения все же присутствует. Другой вид культурной интерференции - языковой: в русскоязычных частушках появляются карельские вкрапления, а в карельских частушках - русскоязычные вкрапления. Третий вид культурной интерференции - фоновый: это либо переводы народных русских песен на карельский язык, либо формирование оригинальных карельских песен, аналогичных русским песням с теми же сюжетами («Летит, летит птичка» / «Уж ты сад, мой сад, сад зелененький» и «В полюшке березка растет» / «Во поле березка стояла»). В статье подробно рассмотрены первые два вида карело-русской культурной интерференции. The Tver region has been a place of the Karelians’ habitation since XVII century. Therefore, the problem of national contacts between the Russians and the Karelians is topical for this territory. Usually these contacts are described as devoid of any conflict, and the cultural exchange as intensive and fruitful, but in reality there has always been some xenophobia on the part of the Russians, which had been growing all through the XX century’s industrialization period, when the Karelians began moving to urban areas. In chastushkas we see the reflection of “mild” xenophobia, of irony directed at the alien culture. Throughout the XX century the level of Karelian national identity had been decreasing. The Karelians do not conceal their nationality, but they do not manifest it openly, as well, and even the population of the Likhoslavl district define themselves as “Karelian-speaking” and not as the Karelians. As the result of the Karelians’ cultural assimilation a large volume of Karelian folk material in the Russian language was recorded - the Russian folklore of the Tver Region Karelians. In this situation, the texts bearing the indices of national identity are of special importance. When a Karelian folk singer says, “These are our Russian vistas”, she means not national, but administrative and civil identity. We can define three types of Karelian-Russian cultural interference. The first type is the thematic one: in chastushcas the image of a Karelian is either compared to that of a Russian, or is described as a thing in itself, while there still exists some implied outside point of view. Another type of cultural interference is connected with the language: the Russian chastushkas bear Karelian inclusions, while the Karelian ones have inclusions in the Russian language. The third type of the cultural interference deals with the background, and embraces either Karelian translations of the Russian folk songs, or creation of original Karelian songs similar to their Russian analogues with the same plot (“There flies a bird” / “Oh, my green, green orchard” and “In the field there grows a birch-tree” / “In the field there was a birch-tree”). The article gives a detailed analysis of the first two types of Karelian-Russian cultural interference.
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Meleshchenko, Oleksandr. "Gender in the Land of the Rising Sun (based on the Russian specialists’ researches on Japan). Part 1". Scientific notes of the Institute of Journalism, nr 1 (74) (2019): 124–35. http://dx.doi.org/10.17721/2522-1272.2019.74.11.
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The gender situation in the cosmogonic myths of the peoples of Japan is considered on the example of mythopoetry of the Ryukyu region, as well as the influence of these myths on the gender balance of the old Ryukyu societies both before Christ era and from its beginning up to the 19th century. The researcher E. Baksheev, based on the achievements of N. Nevsky – the founder of the Russian School of Japanese Studies, as well as his colleague A. Sadokova, reconstructed the role of a woman in the ancient Japanese society on the example of mythopoetry of the Ryukyu region. The chronicles «Records of Omorho Songs» (1532 – 1623), «Records about the path of the Ryukyu gods» (1603 – 1606) by the Japanese monk Taytyu: Rio: teya, «The Mirror of the Generations of Thu: Dzan – the Kingdom of the Ryukyu» (1650), «The Genealogy of Thu: Dzan» (1697 – 1701, 1874), «The Rite of the High Priestess» (1875) were the sources of the research. In the Japanese society, before the Meiji Revolution, at all social levels of its organization, along with a man who had socio-political and economic power – from the head of the house to the head of the rural community and, further, to the regional ruler and the king – there was a priestess (a relative and mainly a sister). Her functions were to rely on the authority of the leader spiritually and ritually, relying on the deities’ «will». The kings of Ryukyu were forced to rely on mediation of the priestesses so that siji (shōjo magic power) would come from the Other (parallel) light to protect the throne and the prosperity of the state in this light. In those old times, the status of such a priestess was even higher than that of a male ruler who ruled on her behalf. The Russian specialists on Japan define such a structure of power as diarchy («dual power»), and the system of government as theocratic. In the terminology of Japanese researchers, the theocratic system of government is called as the policy of «unity of worship and governance». In the XIII – XIV centuries the local and regional rulers were put under the control of the King Ryukyu. The priestesses also lost their independence and had to obey the High Priestess from the royal family. A single secular and religious power was divided into the highest (court) and lower (local) levels. A special feature of the Ryukyu mythology is the late records of the texts with preservation of many archaic motifs and their «applied», frankly social and political biased character. One of the main tasks of such myths was consecration of the status of the ruling elite and the magical assertion of its high status to support the current social hierarchy. «The Records of Omoro songs» (a poetic anthology in 22 volumes, which includes 1,553 old ritual priestly chants), as well as «The Records about the path of the Ryukyu gods» were not completed as in the early 17th century the Kingdom of Ryukyu became the target of aggression from the Japanese clan Satsuma and was under its indirect control. The following chronicles were created under different ideological supervision, which, however, did not change their essence. Also in the period of the 9th – 14th centuries, as an exception, the rare images of a female warrior appeared, and then disappeared in the 16th – 19th centuries before the Meiji Revolution, being replaced massively by the disenfranchised Japanese women – the wives of samurai, peasants, artisans and merchants. After the Meiji revolution in 1879, the government of Japan established the Okinawa prefecture.
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Tymoshenko, A. V. "The embodiment of mater’s archetype in song genre (on repertoire material by master students of Popular Music and Jazz Department)". Aspects of Historical Musicology 13, nr 13 (15.09.2018): 153–66. http://dx.doi.org/10.34064/khnum2-13.12.
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Background. The Mother has always been one of the most popular images in art. A woman giving birth to another human being and caring for it has always been in a focus of attention of artists and philosophers. From this standpoint, the mother is defi ned as an “eternal theme” [3], on the one hand, and as archetype on another one [1; 2]. That allows methodists of primary education to create lessons, devoted to the fi gure of the mother in different arts [7], thus explaining unknown (peculiar features of every art) through well-known (attitude towards mother). In the music, including popular music, the image of The Mother can be found extremely often, as the list of performers whose heritage includes at least one song about his mother, seems to be infi nite; moreover, it consists of the artists representing different national traditions and styles. But the usage of the works of pronounced theme at the highest level of musical education has received neither methodical nor scientifi c development, regardless of including these songs into the repertoire of the students’ programmes. The realm of the music can serve as an undeniable evidence that the music is full of images of maternity: both in religious works (“Ave, Maria” by Schubert and Bach- Gounod), “Vergin tutto amor” by Durante, “Bogoroditze devo raduysa” by Rachmaninov, Yanchenko and others) and in secular (the roles of Santuzza in “Cavalleria Rusticana” by Mascagni, Cio-Cio-san in “Madama Butterfl y” by Puccini, Russian romances by Gurilyov (“Matushka-golubushka”), Varlamov (“Krasnyi Sarafan”). This list could be continued. The accessibility of the image of the mother to every child, its open emotionality make it extremely suitable material for learning the basic principles of art by the children. B ut at the highest level of education, such usage of achievements of culturological and psychological science can scarcely be seen. Although the lack of methodical and theoretical cognizance of given problem does not exclude the usage of songs that feature the theme of maternity, in one way or another, or the attitude towards the parents, in the educational process. Although the main part of the repertoire performed by students of the Popular Music and Jazz department is oriented at the Western-European and American music, the traditions of education don’t allow to exclude the Ukrainian music from the programme. As the experience shows, it is easier to work on this material – for three main reasons. The fi rst one is the accessibility of the Ukrainian language (both for memorizing and for pronunciation), the second one lays in the fact that Ukrainian songs seem to be perceived more emotionally (that is a prerequisite of a successful work on a composition), and the third one is that the students are often familiar with the Ukrainian songs (both with the melody and the lyrics) even before they start working on them, because they widely distributed in the popular culture. The image of The Mother is among the most often used in the Ukrainian songs. It is featured in the folk songs as well as in academic and popular music, connected with the principles of Ukrainian song intonational features. The one of the most popular song from the latter group is “Pisnya pro Rushnyk” (music by Platon Mayboroda, lyrics by Andriy Malyshko). When it was written in 1958, its popularity skyrocketed (it was even broadcasted by the Voice of America [6]), and it is still widely known. This makes stated song a suitable repertoire for learning the traditions of popular vocal craftsmanship. The lyrics feature some stable motives causing the dominance of the lyric expression. These motives are the retrospection (as all the events of the song are placed in the Past), separation with the mother, and her everlasting love. All the things stated above and slow, somewhat solemn but enlightened melody makes it perfectly clear what emotional state is needed for this song – because the archetype character of the image of The Mother makes it easily perceptible by almost everyone. The objective of this research lays in the revealing of the signifi cant role played by the image of mother in the repertoire of students of the Popular Music and Jazz department and in generalization of typological features of these songs. Methods. In order to reach those objectives, several methods have been used: genre and style analysis, analysis of lyrics and music and their relevance, compositional analysis. Results. The image of The Mother, that is an archetype by itself, has been rece iving its incarnation throughout all known history of humanity, thus acquiring a features of “eternal theme”. The fi gure of the mother (both in the religious and secular meaning) has been portrayed in academic music, in popular one and in the folklore. Generalizing the results of observances, we can conclude, that the songs featuring the image of the mother are characterized by the dominance of the lyrical mode of expression and sincere emotionality. They often have a retrospective view, naturally caused by belonging of the mother to the older generation than her children. As a repertoire of students of the Popular Music and Jazz department the songs about the mother can serve as a material suitable, on the one side, for developing technical and performer skills; and on the another – its content is mostly accessible for open emotional reception, that makes it much easier to work at. Typological features of “the songs about the mother” that have been revealed in this research, do not become cliché as they are different in the language, in the character, and in the nuances of content. Practical signifi cance. The results of this research can be used as methodical recom mendations on the choice of the repertoire of the students and the work on it. Various advices have been given both on musical and verbal aspects of analyzed songs.
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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music". ICONI, nr 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.
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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.
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Gasparyan, Luiza A., i Zaruhi G. Hayryan. "Sayat-Nova’s Oeuvre in the Light of Interpretation and Translation by V. Bryusov". Studia Litterarum 9, nr 1 (2024): 168–85. http://dx.doi.org/10.22455/2500-4247-2024-9-1-168-185.
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Each national literature is a part of national history. It presents the features of the national culture and the people who live and develop in specific cultural and traditional conditions. Each nation has its unique genius that sings the national beauty. Armenian ashug Sayat’-Nova’s creativity has had a significant influence on Armenian literature. Sayat’-Nova, as a national poet, had created poetry with its genre subdivisions. We can consider such categories as spiritual, patriotic poetry, glamorous social poetry, and folk-gusan songs. The present research has been carried out along the lines of Sayat’-Nova’s verbal creativity through the interpretive prism of theorists and literary critics with special reference to Valeri Brusov, who highlighted the exclusive richness of Sayat’-Nova’s artistic devices, the peculiar features of his literary genre, style, and language. The article focused on the relevance of Russian-Armenian literary relations, which became particularly crucial with the publication of Valeri Brusov’s anthology “Poetry of Armenia” in 1916. The outstanding Russian writer, critic, and translator has highly appreciated the exceptional richness of Armenian literature and interpreted each piece of verbal creativity with great accuracy. His opinion is that Sayat’-Nova name deserves to be a part of world literature. Armenian ashug has to stand next to the honored names and glorified works of Western literature.
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Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music". ТРАДИЦИОННАЯ КУЛЬТУРА 25, nr 1 (29.03.2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.
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Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида Утесова. Наибольшее количество пластинок приходится на период 1927–1930 гг., по 1929 г. идет стремительный рост этого показателя, затем его резкое снижение, до одной пластинки в год. Интерес к песне возрождается после выступления сестер Берри с версией «Бубликов» на идише (в СССР — 1959 г.), но особенно с 1960-х гг., в русле ретро-увлечения русским романсом и городской песней. Сейчас мы располагаем 13 полными грамзаписями «Бубличек», включая иноязычные переработки (польскую, французскую, еврейскую). Кроме того, текст песни цитируется современниками и мемуаристами, а также размещается на нотных листках и в песенниках — печатных (1929–1930) и рукописных (1940-е). Всего в нашем распоряжении не меньше двух десятков записей, которые были зафиксированы вскоре после появления первотекста и могут рассматриваться как репрезентирующие «начальную» фазу развития данной песенной традиции. Их сопоставительный анализ позволяет описать вероятный содержательный состав этого первотекста и процесс последующего образования двух основных версий песни и их различных редакций. Among the musical texts of the New Economic Policy (NEP) era, the song “Bublichki” (“Kupite bublichki ...”) [Little Hot Buns or Bagels (Buy Little Hot Buns)], most likely authored by the Odessa poet Yakov Yadov (1926), was especially widely known. Its melody, apparently, goes back to the Jewish folk song “Coal.” The song quickly spread and became part of urban folklore. It was also performed on the pop stage, both in Russia and in the Russian diaspora. From 1927 to 1945, more than fifty recordings appeared in Europe and America, most of them instrumental, and some both vocal and instrumental (and it was not only sung in Russian); in the USSR there was only one “test” recording by Leonid Utesov. The largest number of records dates from the period 1927–1930; in 1929 there was a rapid jump of this indicator, which then sharply declined to one record per year. Interest in the song revived after the Berry Sisters performed a Yiddish version of “Bublichki” in the USSR in 1959, and grew from the 1960s onwards in the wake of the retro fascination with Russian romance and urban folk songs. The author has traced thirteen complete gramophone recordings of “Bublichki,” including versions in Polish, French, and Yiddish. In addition, the text of the song was quoted by contemporaries and memoirists, and also made its way into sheet music and into songbooks, both printed (in 1929–1930) and manuscript (in the 1940s). In total, the author counts at least two dozen records which were recorded soon after the appearance of the first, presupposed “primary” text, and that can be regarded as representative of the initial phase of the development of this song tradition. Their comparative analysis allows us to reconstruct the probable content of this primary text and the subsequent formation of two main versions of the song and their various modifications.
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Gavrikov, V. A. "Visualization in Song and Poetry Culture". Art & Culture Studies, nr 4 (grudzień 2023): 604–27. http://dx.doi.org/10.51678/2226-0072-2023-4-604-627.
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On the one hand, the article is of an overview nature. It deals with modern ideas of Russian and foreign science on the role of visuality in modern culture. The popular thesis that modern culture is primarily visual is questioned. The visual component is shown to have already played a significant role in relict pre-literature forms. Many branches of knowledge, such as the philological profile, still study the intermedial arts without taking into account their complex nature. The article presents the history of the study of this problem in the context of research on author’s songs and rock culture. On the other hand, the article has got a practical part, where the theses stated are illustrated with specific material. According to the author’s hypothesis, the bards have devised various strategies for developing visual space over the decades of the existence of this phenomenon. The work with visual content within a music video is illustrated on the materials of two takes of the song “Morning Gymnastics” by Vladimir Vysotsky (the videos were made by the Hungarian Television in 1974). The poet employs two “types” of sign and scenographic visualization, i.e. the ones with theatrical and sports connotations. The strategy of developing the visuality in rock poetry is presented by the example of the concert by Alexander Bashlachev taken place at Boris Grebenshchikov’s* in 1986. Due to the poet’s performance without accompanists, the emphasis is made on gestures, primarily on the eye ones, appealing to the top of the ontological vertical. The deep and diverse connections to the Bashlachev’s poetic text are shown. * Recognized by the Ministry of Justice of the Russian Federation as a foreign agent
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KHAKIMYANOVA, A. M. "PATRIOTIC WAR OF 1812 IN BASHKIR FOLKLORE". Izvestia Ufimskogo Nauchnogo Tsentra RAN, nr 3 (11.09.2023): 61–67. http://dx.doi.org/10.31040/2222-8349-2023-0-3-61-67.
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The Patriotic War of Russia against the Napoleonic invaders is a bright page of the valor and courage of the peoples of our Motherland. The brave Bashkir people, who made up the most massive component of the irregular cavalry, also contributed to the victory. The participation of the Bashkirs in this war is a vivid example of loyalty to their duty, manifestation of courage and valor. The theme of the Patriotic War was reflected in history, fiction, the presence of the national cavalry is described in memoirs and works of fine art. This article is devoted to the topic of displaying it in Bashkir folklore. The heroic struggle of the Bashkir warriors as part of the Russian army against the troops of Napoleon is reproduced in various genres of Bashkir folk art, among which legends, legends, songs, legends and songs stand out. The theme is also presented in the epic and baits, the patriotic content of which shows the great changes that have taken place in the public life and spiritual culture of the people. In folklore works, a heroic image of a Bashkir warrior was created, in which the best character traits of the Bashkir people are summarized, and one can clearly trace the attitude of the people to the war, its participants and leaders. In 2022, Russia is celebrating the 210th anniversary of the victory in the Patriotic War of 1812. The relevance of this study lies in showing that despite the passage of more than two centuries separating us from these fateful events, the historical significance of folklore works of this period has not decreased. Painted with motifs of patriotism, the immortality of the people who stood up for their honor and freedom, works of folklore, as a memory of those heroic years, still live among the people and play an important role in the scientific and educational process and patriotic education.