A musical Adyghe wind instrument used by shepherds. Adyghe national instruments

Traditional musical instruments and instrumental music represent the richest layer of the spiritual culture of the Adyghe people. Reflecting his worldview, type of thinking, value orientations of society, being closely connected with religious and secular life, this area of ​​folklore is of paramount importance for comprehending the ancient culture of the Circassians, revealing the national “mode of thinking” (S.I. Gritsy’s term). Instrumental culture is a huge array in the musical tradition of the Circassians. This is evidenced by a very significant layer of actual instrumental texts in rituals, and the extreme development of dance music in the Adyghe tradition1, and the special role of instrumental music. performing arts in culture, its close relationship with etiquette standards Adyghe hab-ze (Adyghe ethics), high social status of performers-instrumentalists, the presence in the past of a highly developed differentiated workshop (Egyguaco-instrumentalists.

Among the musical instruments of the Circassians, most often found in the mentions and descriptions of travelers of the 15th-19th centuries are shichepshina (bowed string), apapshina (plucked string), pshinadykuako or pshinatarko (corner harp), kamyl (longitudinal flute), bzhamiy (horn), phatsych (ratchet), shontryp or fatryp (double-sided drum). In addition, as the study of the Adyghe instrumental tradition showed, there were other musical instruments, such as the Shapsug zither (stringed plucked), Shapsug lira (bowed string), mountain horn (longitudinal pipe), pkhambgu (slit idiophone), etc. Some of them retained their connection with ritualism until the recent past. IN mid-nineteenth- early

1 So, for example, ethnographers and folklorists recorded more than two hundred different melodies of only one of the dances - uja.

XX centuries in the musical life of the Circassians, the harmonica-imshna appeared and firmly rooted, which in many respects contributed to the emergence of a new cultural situation. The instrumental tradition of the Circassians as a whole is characterized by the complexity, multicomponent and dynamic nature of its processes.

Socio-political and economic conditions for the development of society in the 19th-20th centuries. led to the disappearance of many musical instruments from the musical life, the "displacement" genre system traditional instrumental culture (the transition of the main genres to the repertoire of late instruments), the loss of ritual layers of instrumental folklore. Nevertheless, instrumental music to this day occupies a priority position in the culture of the Circassians. Moreover, processes of the revival of traditional instrumentalism in new socially pre-established forms are currently being recorded.

The instrumental tradition of the Circassians becomes the object of close attention of scientists rather late - from the 40-60s of the XX century [Levin 1968; Mirek 1968, 1992, 1994; Samogova 1973; Scheibler 1948, 1957; Shu 1964, 1971, 1976, 1997; Vertkov 1973]. The works of scientists contain material related to the morphology and ergology of the most common musical instruments: shichepshina, apapshina, kamy-la, phatsycha, some information about pshinadykuako or pshinatarko and bzhamiye. Unfortunately, in the works of this period there is no differentiation of musical instruments according to the historical criteria for functioning in culture. As a result, such clearly borrowed (in a rather late period) instruments as nakira, duduk, daira are not singled out from the general series. In addition, in the works listed above, the Adyghe tools are considered outside of its ethnographic and socio-historical context; the ethnographic information encountered is fragmentary or descriptive.

New stage in the study of the Adyghe instrumental culture begins in the 80-90s of the XX century, when ethnomusicologists turn to its problems [Baragunov 1980; Kagazezhev 1988 - 1998; Sokolova 1986 - 1999]. It is significant that B.S. Kagazezhev continued the morphological and ergological aspects of the study. He introduced into scientific use detailed measurements of such musical instruments as kamyl, apapshina, ichepshina and phatsych, described some design features of bjamsh, pshinadykuako (pshinatarko) and shontrypa (without a waist).

First experience comprehensive research musical instruments of the Circassians (affecting the issues of forms and methods of their functioning, features of the performing arts) are the works of A.N. Sokolova [Sokolova 1994, 1998 A-G, etc.]. Some musical instruments are described by her for the first time (upapshina - an instrument of the ocarina type, mazhepshina - a comb). A.N. Sokolova also belongs to the first classification of the Adyghe tools in accordance with the systematics of Hornbostel-Sachs. However, the works of A.N. Sokolova are based on local material (the Republic of Adygea, which is part of the western region where the Adygs live).

Until recently, researchers practically did not touch upon issues related to the system analysis of instrumental tunes of the Adyghes, their rhythmic and pitch structures, the relationship between the musical components of instrumental texts and choreographic ones.

Thus, the elaboration of the problematics around which this dissertation is focused seems to be insufficient by now: there is no holistic comprehensive coverage of the phenomenon of Adyghe instrumentalism, there are even no approaches to typology

JT musical material both within local traditions and in the Adyghe national culture as a whole.

Starting to study issues related to the Adyghe instrumental culture, we first of all set ourselves the task of a full-fledged field study of tradition, which in ethnomusicology, as is known, on the one hand, precedes scientific generalization, and on the other hand, due to the need to replenish the material and / or its detail - constantly alternates with the actual theoretical understanding. In the author's expeditions of 1988-2000 to the places of compact residence of the Circassians in the Caucasus (KBR, KChR, RA, PSH, Mozdok district PCO and Urup district Krasnodar Territory) collected a collection of sound recordings of instrumental music (total 1020 sound recordings) and conversations with informants. In the field work, we recorded various forms of musical life, systematically collected information about disappeared instruments and forms of their functioning in the past, information about long-gone rites, as well as about the features of folk performance, and recorded traditional folk terminology associated with instruments, musical tunes and dances. In order to make the study of tradition as efficient as possible, a program for studying the regions, questionnaires, and repertoire lists was developed. The tunes were recorded in their various versions (solo, ensemble, regional).

The specifics of the tasks that we faced in the field study depended to a large extent on state of the art tradition, characterized by a very tangible degree of destruction: almost all rituals disappeared from existence and, consequently, a huge layer of ritual music disappeared, a number of rituals had to be restored according to the stories of old-timers who were their participants or eyewitnesses. A significant part of the musical instrumentation was subject to a similar reconstruction (for example, on the basis of the description we proposed, the Shapsug mountain horn was made by the folk master Z. Guchev), as well as some forms of musical life (secular or ritualized, such as, for example, a khachesh action in the center village), some types of ensembles. Due to the fact that over time, as mentioned above, some “shifts” occurred, it was necessary to find out the ratio of instrumentation and certain genres of tunes in more early periods to understand the dynamics historical processes that took place in folk instrumental culture. However (and this is extremely important) the viability, "vitality" of the instrumental tradition in the Adyghe culture contributed to the success of the work. Active functioning at the present stage, such instruments as pshina, shichepshina, kamyl. The tunes on these instruments formed the basis of our collection.

As a result of field work, we managed to compile a representative collection of instrumental music of the Circassians and the most valuable information about it. This material became the basis of the present work.

In addition to our own field materials, we used stock materials from ARIGI, KBIGI, Lazarevsky ethnographic museum(Sochi), Radio Committees of the KBR and RA, gathered in those years when many layers of instrumental music actively functioned in the tradition. Archival materials made it possible to expand the scope of the studied synchronous reservoir to the 40s of the XX century.

Records from the personal archives of T. Blaeva, R. Gvashev, Z. Guchev, R. Unarokova, kindly provided to the author, served as additional material. Interviews with these collectors and scholars have greatly added to the information available in our own records.

Unfortunately, today we have to state the extreme scarcity of publications of Adyghe instrumental texts. Separate tunes (no more than ten samples) are contained in different volumes of the NPINA Anthology, published under the editorship of E.V. Gippius [NPINA 19801984]. Instrumental music is also devoted to the collection, published in the city of Maikop (RA) "Adyghe Dances", compiled by one of the most famous harmonists in the Caucasus K. Tletseruk [Tletseruk 1987]. These few publications were also the material of this work.

real work refers to the type of synchronic studies (the importance of distinguishing between synchrony and diachrony was first written by F. de Saussure [Saussure 1977: 120-130]). However, we also touch on some issues. historical movement traditions. In this regard, the works of travelers and writers turned out to be very important for us [Vasilkov 1901; Witsen 1692; Grabovsky 1869; Dubrovin 1871 and others]. Despite the fact that the information contained in such literature is fragmentary, fragmentary, it is sometimes extremely valuable and indispensable for reconstructing the whole picture of musical culture. In this context, there are also problems associated with replenishing the base of sources, which are relevant not only for Adyghe ethnomusicology, but also for Adyghe studies in general. A very limited range of publications in Russian (including translated literature) creates a rather meager picture of ethnofactology. As a result, many links of culture remain outside the description or are partially described. This also applies to the description of the musical tradition of the Circassians.

On the territory of the compact residence of the Adyghes in the Northwestern Caucasus, several subregions are clearly distinguished, which, due to socio-historical and economic conditions, are isolated and geographically distant from each other: the Adygs are part of the population of Kabardino-Balkaria, Karachay-Cherkessia, inhabit

Republic of Adygea, Lazarevsky district of Sochi, Tuapse and Urupsky districts of the Krasnodar Territory, Mozdok Northern Ossetia. Historically, most of the Circassians currently live abroad: in Syria, Jordan, Turkey, Iran, the USA, France, Germany, etc.

Based on his observations, confirmed by linguistic studies of the Adyghe languages ​​[Balkarov 1979; Kumakhov 1964, 1989, etc.], we outline a certain dialectal structure of the tradition and distinguish three large regions of instrumental culture, each of which has its own specifics:

1) the Eastern Adyghe region, including Greater and Lesser Kabarda (KBR), Mozdok Kabardians (PCO) and Circassians (KChR);

2) the Western Adyghe region, uniting the Adyghe sub-ethnic groups living on the territory of modern RA, as well as in the Urupsky district of the Krasnodar Territory and in the Black Sea Shapsugia3, where the traditional culture has the highest degree of preservation and purity;

3) the region of the Adyghe diaspora, mainly located in the countries of the Middle East.

Accordingly, the main regional traditions of instrumental music are distributed among these three regions, and it should be noted that the music of the Adyghe diaspora can also be quite clearly and clearly differentiated by belonging to the eastern or western regional tradition, although it certainly has features of the influence of other cultures.

Striving for greater reliability, we limited the material of this study to the instrumental music of the Circassians, living

3 The historical name uniting the territory of the Tuapse district of the Krasnodar Territory and the Lazarevsky district of the city of Sochi - places of compact residence of the indigenous population - the Shapsugs. living in their historical homeland, without affecting the music of the numerous Adyghe diaspora.

The study of the instrumental culture of the Circassians as an integral system confirmed the provisions formulated in a number of works by I.V. Matsievsky [Matsievsky 1976-1999]. Based on his works, we single out traditional musical instruments, performing arts and instrumental tunes of the Adyghe tradition as an object of study. The triad instrument - performer - music (identified by I.V. Matsievsky), reflecting the multicomponent nature of traditional instrumentalism, is considered as the internal structure of the integral system of the Adyghe instrumental culture, and the forms and conditions for its implementation as its context. At the same time, a musical instrument is understood as “an instrument with the help of which musical ideas are realized” [Matsievsky 1987: 9], which is part of the material and spiritual culture of the people (in which the experience of this culture is reflected), functioning in an integral system of needs and orientations of culture. Traditional instrumental music is characterized as “manifested in sound complexes (with the help of tools or parts of the human body that perform their functions) spiritual creativity people, which reflects its collective consciousness, experience, culture and functions in connection with its internal spiritual needs” [Matsievsky 1987: 13].

Intra-system connections that arise between the components of this triad, such as: musical instrument - performance, instrument - instrumental music, performer - music - also require careful study. They are closely interconnected and show certain patterns of functioning in the integral system of instrumental culture.

At the same time, we consider it necessary to supplement this triad with a fourth component, which can be called tradition. Under tradition (in close-up) are understood as “elements of social and cultural heritage transmitted from generation to generation and preserved in certain societies, classes and social groups During a long time. The tradition covers objects of social heritage (material and spiritual values); the process of social inheritance; his ways” [Philosophical Dictionary 1983: 692].

IN folk culture tradition manifests itself, on the one hand, as a set of norms, laws, regulations, the effects of which apply to all forms of manifestation of culture: the features of musical performance, forms of musical life, the structure of rituals, the organization of musical texts. In addition, many of the forms in which the tradition is realized are the context of instrumental texts. Complementing the triad with the fourth component, we focused on the following issues related to the traditional context: firstly, on the forms of musical life of the Circassians, with which the forms of music-making are closely connected and in which, in fact, the functional properties of instrumentalism are manifested. This phenomenon- certainly contextual in relation to musical instruments, performance and musical text. This - pragmatic - aspect of the study of musical culture is extremely important, since it is it that allows us to analyze the specifics of communicative situations in folk culture.

Another contextual system in which the instrumentation, performance and instrumental music functions is ideological, and is associated with the specifics of the mythological thinking of the Adyghe people. As is known, mythological (mythopoetic) thinking forms the main archetypes of mentality, including the models of musical thinking characteristic of a given people. As part of the study of this issue, we relied both on works of a general nature (from K. Levi-Strauss and K. Jung to E. Meletinsky, V. Toporov and Vyach.Vs. Ivanov), and on works directly devoted to Adyghe mythology [Akhokhova 1996; Shortanov 1982, 1992]. Although it should be noted that the latter relate only to the description and partial interpretation of the corpus of mythological texts and, unfortunately, do not represent a holistic mythological model of the world of the Circassians. In this regard, such aspects of the Adyghe culture as the sacredness of musical sound, the place and functions of musical sound among other parameters of the mythological model of the world, revealing the deep semantic layers of tradition, the vector of its aspiration, have become relevant. In addition, the mythological coordinates of culture allow us to see the psychological and psychophysical mechanisms of the generation of the musical sound of culture in a somewhat different way, and to determine them more precisely.

Manifestations of interrelations of all four components of the object under study can be found both at the level of formation and in the textural, rhythmic or pitch (scale-melodic) structures of specific instrumental texts.

Due to the interdisciplinary nature of the study, it covers a wide range of methods developed both in ethnomusicology and in related sciences. The dissertation uses the systematic structural-typological method introduced into musical folklore by E.V. Gippius and actively developed at present by ethnomusicologists of the Gnessin school [Gippius 1957-1988; Engovatova 1991; Efimenkova 1993; Pashina 1990, 1999 and others], as well as researchers from Belarus, Karelia, Mordovia, Siberia, Tuva, Udmurtia, Chuvashia, etc.

We analyze the musical instruments of the Circassians from the standpoint of the system-ethnophonic method of organology, developed in the studies of I. Matsievsky (see referenced works), F. Karomatov [Karomatov 1972], Yu. Boyko [Boyko 1986] and others.

Considering the instrumental culture of the Circassians, following the semiotic approach, we define it as a sign system and distinguish between the "linguistic" and "speech" levels of its manifestation (according to F. de Saussure). As a result of the projection of the linguistic method on the theory of culture, the latter acts “not only as a complex of realities”, which are based on “hidden, unconscious structural models. Therefore, every phenomenon of culture is two-layered, has both a superficial and a deep structure (N. Khomsky's terms)” [Engovatova 1991: 49]. In this regard, other semiotic works are also important to us [Levi-Strauss 1972, 1983, 1985; Lotman 1967-1987; Toporov 1973-1998; Ivanov 1981-1988; Semiotics 1983 and others], revealing a system in which syntagmatics (linear connections) and paradigmatics (associative connections) are distinguished.

In the course of the study, we also relied on the methods of the theory of culture [Mol 1966-1973; Markaryan 1969-1983 and others], ethnology [Bayburin 1990-1998; Arutyunov 1979 and others], linguistics [Saussure 1977 and others], ethnolinguistics [Tolstoy 1995; Tolstaya 1988 and others], psychology and psychophysiology [Arnheim 1974; Bergson 1984; Blair 1981; Leontiev 1972 and others], ethnopsychology, choreology [Koroleva 1977; Lisitsian 1958; Lange 1975; Sheets 1966 and others]. Works in the field of systems research were of particular importance for us [Aver'yanov 1985; Shkenev 1990 and others].

Today it is becoming generally accepted, considering any cultural phenomenon, to reckon with the integrity of its being. In this perspective, musical culture appears as one of the subsystems of a larger common system man is nature, the ecological integrity of which does not have to be proved. “Indeed,” G. Gachev writes, “the foundation of the history of the people is the history of their work to transform the nature in which they live. This is a two-pronged process: a person impregnates environment himself, his goals, masters it and at the same time saturates himself, his whole life, life<.>all his body and, indirectly, soul and thought - by her. The adaptation of nature to itself is both a flexible and virtuoso adaptation of a given group of people to nature” [Gachev 1988: 48-49]. With the heterogeneity of cultural languages, each of them inevitably reflects the worldview and psychophysical processes, their features that have developed in a particular ecosystem. In this regard, in relation to the musical tradition of the Circassians, we introduce such a concept as landscape sounding, reflecting the close relationship - generating and correcting - the ecosystem and the musical culture of the people. To a certain extent, it can be said that the fundamental regularities of the ecology of human existence are modeled in text-codes. As a result, not just a chain or a set of codes-languages ​​of culture is built, but a closely interconnected system that assumes their specific functions. Therefore, exploring one of the components of the musical tradition of the Circassians, we cannot bypass such areas of traditional culture that are closely related to it, such as socio-communicative ties and institutions, ideological and psychological aspects, and the historical and economic background of culture. Of course, we refer only to those areas of their manifestation that are directly or indirectly related to instrumental music. IN this case instrumental musical culture acts as a mega-text, and the rest of the cultural life as a mega-context.

And finally, one of the pressing problems associated with the instrumental culture of the Circassians is the correlation of folk and research terminology. The problem lies in the identification of traditional terms and the ordering of the rules for their spelling (in accordance with the phenomena denoted by these terms) in relation to various Adyghe dialects. The problem raised also affects other levels of culture, as it is connected with the etymology of names, behind which is the designation of the design features of musical instruments, their identification by one or another feature, and the fixation of the choreographic and functional features of dances, and much more. Of course, understanding the etymology of the traditional nomination of musical instruments, dances, performing arts leads to a deeper understanding of the features of the mythological thinking of this people.

In accordance with all of the above, the purpose of this work is to compile a systematic understanding of the traditional instrumental culture of the Adyghes, which is absent in science, and include it in the complex of existing knowledge about the Adyghe musical culture as a whole. To achieve it, the following tasks are solved in the work:

Systematization of historical, morphological and ergological data concerning the musical instruments of the Circassians, ways of playing them;

Implementation of a complete systematics of the musical instruments of the Circassians;

Determination of the functions and forms of existence of musical instruments in the past and present; description of the main trends in the development of the tradition;

Study social institution musicians-instrumentalists, its forms and functions, revealing the features of the semantic and socio-psychological components of the performing tradition;

Systematization of genres of instrumental music, identification of their semantic and ritual functions in the context of the traditional culture of the Circassians;

Study of the traditions of instrumentalism in the context of the system of mythological beliefs of the Circassians;

Analytical description and systematization of instrumental musical texts at the level of composition, texture, rhythm and pitch;

Identification of the regional structure of the Adyghe instrumental tradition.

Each of the four components of the object under study is devoted to the corresponding sections of the work. So the main issues related to the instrumentation of the Circassians are discussed in chapter 1 of the first part, chapters 2 and 3 of the first part are devoted to the phenomenon of performance in the Adyghe tradition, chapters 4 and 5 of the first part are devoted to context problems, and finally the second part is an analysis of the actual musical texts of instrumental tunes (The rather large size of the second part is due both to the fact that such an analysis is being undertaken for the first time, and the general musicological orientation of the work).

A letter is formed by sound, a syllable is formed by letters, a word is formed by syllables, and ours is formed by words. everyday life. That's why our human world depends on sound"

Sanskrit treatise of the XIII century Part I. INSTRUMENT AND PERFORMER

IN THE CONTEXT OF TRADITIONAL CULTURE