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Entertainment scenario using the folklore of the peoples of the Southern Urals “Ural gatherings. Ural Historical Encyclopedia - musical folklore of the Urals A wave from the Urals

FOLKLORE MUSICAL URAL

multinational by nature, which is due to the diversity of nat. composition of us. region. The areas of settlement of peoples on the territory. U. intertwined, this contributes to the emergence of decomp. ethnic contacts, which are also manifested in music. folklore. Naib. studied Bashk., Komi, Udm., Rus. music-folk. traditions.

Bashk. music folklore. Head roots. folklore - in the culture of the Turkic pastoral tribes who lived in the south. U. from the end of IX to the beginning. 19th century The folklore of the Bashkirs combined echoes of pagan and Muslim beliefs. Main the holidays were in spring and summer; the eve of field work was celebrated with Sabantuy, the plow holiday. Among the song genres are epic, ritual, drawn-out lyrical, dance, ditties.

The ancient epic genre - kubairs, was used by Nar. sesen tellers. The combination of poetic and prose presentation is typical for irteks. Baity - lyrical-epic story songs-tales (XVIII-XIX centuries). Epic songs have a recitative melody (hamak-kuy) and were often performed accompanied by dombra. Ritual folklore is represented by wedding songs (the lamentations of the bride - senlyau and her magnificence - calf). A complex rhythmic basis, ornamentality are characteristic of lingering songs and instrumental improvisations of the Bashkirs (ozon-kyui or uzun-kuy - a long tune). Dance songs and program-pictorial instrumental pieces - kyska-kui (short melody). These include takmaks - a kind of ditties, often accompanied by dancing.

The fret base of the head. songs and tunes is pentatonic with elements of diatonic. Most of the muses genres are monophonic. Two-voice is typical for the art of uzlyau (playing the throat) - singing for playing the kurai, where one performer simultaneously. intones a bourdon bass and a melody consisting of overtone sounds.

Traditional head. instruments - bow kyl koumiss, kurai (reed longitudinal flute), kubyz (vargan).

Komi music. folklore make up a trace. song genres: work, family, lyrical and children's songs, lamentations and ditties. There are also local forms - Izhevsk labor songs-improvisations, Northern Komi Bogatyr epic, Vym and Upper Vychegoda epic songs and ballads.

Solo and ensemble singing is widespread, usually in two or three voices.

Folk instruments: 3-string sigudek (bowed and plucked); brungan - 4- and 5-string percussion instrument; wind instruments - chipsans and pelyans (pipes, a kind of multi-barreled flutes), ethics of pelyan (pipe with a notched single striking tongue), syumed pelyan (birch pipe); percussion - totshkedchan (kind of mallet), sargan (ratchet), shepherd's drum. A significant place in everyday life is occupied by Russian. balalaikas and harmonicas. On the national instruments, onomatopoeic shepherd tunes, hunting signals, song and dance tunes are performed in the form of improvisations or in couplet-variant form. In Nar. practice, in addition to solo, there is also an ensemble song-instrumental music.

Russian music. folklore. Formed at the end of the XVI-XVIII centuries. among the first settlers - immigrants from Rus. S., from Middle Russian. region and the Volga region. In Prikamye and Sr.U. detects connections in the main. from North-Russian, to South.U. and in the Trans-Urals - from the North-Russian, Middle-Russian. and Cossack traditions. Local folk music system incl. genres of song and instrumental folklore. The early layer is formed by timed genres - ritual (calendar, family and household) and non-ritual (round dance, lullabies, games). Among the calendar naib. the ancient songs are Christmas, Shrovetide, Trinity-Semitsky. An important role in the local calendar is played by non-ritual genres - round dance, lyric, ditties, acting in the meaning of seasonally timed ones. Performed in the main children, unmarried youth, mummers (shulikuns). Muses. Traditional weddings are made up of lamentations and songs. The first ones, which accompanied the farewell episodes of the ritual, exist in U. in solo and ensemble performances. Two forms of chanting can sound at the same time. Wedding songs are divided into farewell, glorifying, reproachful and commenting on the ritual situation. Performed by female ensembles. Related to funeral rite the funeral chant combines singing, lamentation in a melody; often accompanied by "lashing" - falling to the grave, table, etc. Performed solo. Ritual genres are characterized by polytext melodies (performed with several texts).

Round dance songs belong to the group of non-ritual timed ones. Naib. 4 choreographic varieties of round dances are typical: "steam", "sex", "kissing" (couples walk along the hut along the floorboards or in a circle and kiss at the end of the song); "wall to wall" (ranks of girls and boys alternately come forward); "circles" (participants of the round dance walk around, or dance, moving in a circle; sometimes the content of the song is played out); "processions" (participants freely walk along the street singing "walking", "walking" songs). Steam round dances are performed in huts at youth parties. The rest, called "meadow" and "elan", were driven in the spring and summer in the meadows, often timed to coincide with calendar holidays. Lullabies and pestles are also dated - solo women's songs addressed to the child. During the games, children play songs, fairy tales, and nursery rhymes.

Untimed genres are of later origin and often reveal the influence of mountains. song culture. One of them is lyrical vocal songs, among which in local tradition include love, recruitment, history, prison. Nar. the expression "swing a motive" - shir., with melodic bends to sing words. In present voices are performed by women, less often by mixed ensembles. Dance songs exist in the U. with three types of dances: circular dances, dances, quadrilles, and their varieties (lancei, etc.). Quadrilles are performed accompanied by instrumental tunes, to songs or ditties. Quadrille "under the tongue" are common. The choreography of quadrilles is based on the change of dec. dance figures (5-6, less often 7), each of which is based on one key movement. Dance songs are performed by solo and ensembles (vocal female and mixed, vocal-instrumental) in decomp. household environment. As untimed, and sometimes as a second time dedicated to calendar holidays, wires to recruits, weddings, there are local ditties ("chants", "slander", "turntables"). In each of us. point common Russian. and local ditty melodies, referred to by name. With. or der. Nar. performers differentiate ditty tunes into fast ("cool", "frequent", "short") and slow ("stretching", "sloping", "long"). It is often performed solo, by a duet or by a group of singers unaccompanied or to the balalaika, harmonica, mandolin, violin, guitar, instrumental ensembles, "under the tongue". Among ur. spiritual verses are popular among the Old Believers. Special region. music folklore U. is nar. instrumental music.

Collection and research. Russian music folklore in U. in the late XIX - early. 20th century associated with the activities of the Uole (P.M. Vologodsky, P.A. Nekrasov, I.Ya. Styazhkin), Perm. scientific-industrial music, Perm. lips. scientific archaeographic commission (L.E. Voevodin, V.N. Serebrennikov), Rus. geogr. about-va and Mosk. Society of Natural Science Lovers (I.V. Nekrasov, F.N. Istomin, G.I. Markov), with ser. 20th century - Ur. state conservatory (V.N. Trambitsky, L.L. Christiansen) and the Regional House of Folklore.

Marisky music. folklore. The folklore of the Eastern Mari has a developed system of traditional genres: heroic epic (mokten oilash), legends and legends (oso kyzyk meishezhan vlakyn), fairy tales and comic stories (yomak kyzyk oylymash), proverbs and sayings (kulesh mut), riddles (shyltash). Among the songs with action, the following stand out: 1) family rituals - wedding (suan muro), lullabies (ruchkymash), songs of Mari etiquette; 2) calendar; 3) short songs (takmak).

Wedding songs are characterized by a strict attachment of the poetic text (muro) to the melody (sem). Among the Eastern Mari, the term muro (song) exists in the meaning of poetic texts, the term sem (melody) - in the meaning of a musical text. Of the songs dedicated to the wedding ceremony, include: glorious groom (erveze vene), bride (erveze sheshke), newlyweds (erveze vlak), parents of the newlyweds and other official actors, reproachful (onchyl shogysho), girlfriend (shayarmash muro vlak), wishes (to newlyweds, friends and girlfriends), notifications (ver tarmesh). A special group in the musical and song folklore of the Mari are songs of Mari etiquette, which are the result of strong tribal relationships. These songs are very diverse both in terms of verses and melodies. These include: guest (? una muro), drinking (port koklashte muro), street (urem muro) songs.

Guest songs were performed mainly on the occasion of the arrival or arrival of guests. They can be divided into the following thematic groups: wishes, reflections on moral and ethical topics, magnification, reproaches, thanksgiving addressed to any of those present. Drinking songs (port koklashte muro) were performed, as a rule, on holidays. They are characterized by a joint emotional and philosophical understanding of life, a desire to meet sympathy for an exciting topic in the absence of a direct appeal. Street songs (urem muro) were also performed in the circle of relatives, but outside the feast. Among them: comic, philosophical songs-reflections (about nature, about God, about relatives, etc.). The genre boundaries of songs of Mari etiquette are very mobile. In addition, their poetic text not strictly attached to the melody.

The calendar songs include: prayer readings, Christmas, Shrovetide songs, songs of spring-summer agricultural work, including game (modysh muro), meadow (pasu muro), reaping (muro turemash), mowing (shudo solymash muro); seasonal songs women's work such as cultivation of hemp (kine shulto), yarn (shudyrash), weaving (kuash), dyeing of fabric (chialtash), knitting (pidash), embroidery (choklymash), gatherings, spring-game songs.

A large place in the folklore of the Eastern Mari belongs to the untimed genre - takmak. In structure, they do not differ from Russian ditties, as a rule, they are limited to a seven-eight syllable base and have, in general, a strict metric. Most of the short songs (takmak), diverse in themes and types, have a light dance character. Another part of them is characterized by narrative and smoothness, which bring them closer to the lyrical song.

The group of lyrical songs is dominated by meditation songs (shonymash), emotional songs (oygan) and songs without words. This genre widespread predominantly in the female environment. Its emergence was facilitated by the special warehouse of the psychology of the Mari, who tend to spiritualize all natural phenomena, objects, plants and animals. characteristic feature songs-meditations and songs without words is their intimacy of existence. Shonymash is often based on direct comparison, sometimes opposition to natural phenomena. The most common thoughts are about the past, about the dead, about human vices, about feelings for the mother, about fate, about the end of life, about separation, etc. Songs-experiences are characterized by (oygan) great emotionality.

The songs of social lyrics include soldier's (soldier muro vlak) and recruit songs. Urban folklore is represented by lyrical ballads and romances.

The traditional folk dances include the "rope" (the name is given, obviously from the drawing of the dance, another name is "kumyte" - "three together"). The dance existed both among young people with characteristic rhythmic divisions, and among the elderly (shongo en vlakyn kushtymo semysht) with slow movements and a light "shuffling" step. Quadrille (quadrille) are also characteristic.

The folk musical instrumentation of the Eastern Mari is quite extensive, if we include not only widespread, but also obsolete instruments. In the list of musical instruments for which information is currently available:

1) a group of percussion instruments - a drum (tumvyr), the wooden base of which was covered with ox skin, when played it made a dull sound, it was usually customary to play the drum with special massive beaters (ush), a scythe (owl), a washboard (childaran she), a washing mallet (childaran ush) - a kind of Russian roll, wooden spoons (sovl), a noisy tool in the form of a box with a handle (pu kalta), a wooden drum (pu tumvyr), and also as noise instruments other various items household utensils.

2) a group of wind instruments with families: flutes - shiyaltash (pipe) - a musical instrument with 3-6 holes, which was made from reed wood of mountain ash, maple or linden bark (aryma shushpyk - nightingale); pipes - udyr beam (maiden's pipe); clarinets - shuvyr (bagpipes). Unique property of this tool lies in the absence of a special bourdon tube (although one of the tubes can play this role). Both tubes (yytyr) of the Mari bagpipes are in principle adapted for playing a melody. Traditionally, bagpipe pipes were made from the bones of the legs of a swan or other long-legged birds (herons, sometimes geese); tuko (horn); chirlyk, ordyshto, chyrlyk puch, umbane (such as zhaleika), acacia kolt (whistles); umsha kovyzh (vargan), sherge (comb).

3) group string instruments subdivided into:

a) bowed ones, which include a musical bow (con-con), a violin (violin) with two strings and a bow made of horsehair, similar to the old Russian whistle, which was customary to play from the knee;

b) gusli (kusle) with a semicircular body.

In addition, well-known mass musical instruments are widely used among the Mari: Mari harmonica (marla accordion), talyanka, two-row, Saratov, minorka.

Udm. music folklore. The origins of udm. nar. music goes back to the muses. culture of the ancient ancestors. tribes. On the formation of udm. music folklore was influenced by the art of neighboring Finno-Ugric, Turkic, later Russian. peoples. Naib. early examples of udm. song art - improvisational fishing (hunting and beekeeping) songs of a declamatory warehouse. Main The traditional genre system of the Udmurts is made up of ritual songs: agricultural calendar and family ritual songs - wedding, guest, funeral and memorial, recruiting. With the transition to Orthodoxy, the ancient pagan rites were influenced by him. In udm. Non-ritual folklore includes lyrical and dance songs.

In udm. nar. claim-ve stand out two DOS. local traditions - sowing. and south. IN genre system sowing traditions are dominated by family ritual songs; songs. Special region. make up polyphonic song improvisations without a meaningful text (krez) and solo autobiographical ones (vesyak krez). In the system of genres of the south. Udmurts are dominated by songs of the agricultural calendar: akashka (beginning of sowing), gershyd (end of sowing), semyk (trinity), etc. In contrast to the north-Udm. songs of the south performed solo or by an ensemble in unison. In the style of the southern Udm. Turkic influences are tangible in the songs.

Udm. nar. instruments - krez, bydzym krez (harp, great harp), kubyz (violin), dombro (dombra), balalaika, mandolin, chipchirgan (trumpet without a mouthpiece), guma uzy (longitudinal flute), tutekton, skal sur (shepherd's horn), ymkrez, ymkubyz (vargan), one- and two-row accordion.

Lit .: Rybakov S. Music and songs among Muslims. SPb., 1897; Lebedinsky L.N. Bashkir folk songs and tunes. M., 1965; Akhmetov H., Lebedinsky L., Kharisov A. Bashkir folk songs. Ufa, 1954; Fomenkov M. Bashkir folk songs. Ufa, 1976; Atanova L. Collectors and researchers of Bashkir musical folklore. Ufa, 1992.
Lit.: Mikushev A.K. Song creativity Komi people. Syktyvkar, 1956; Kondratiev M.I. and S.A. Komi folk song. M., 1959; Osipov A.G. Songs of the Komi people. Syktyvkar, 1964; Mikushev A.K., Chistalev P.I. Komi folk songs. Issue. 1-2. Syktyvkar, 1966-1968; Mikushev A.K., Chistalev P.I., Rochev Yu.G. Komi folk songs. Issue 3. Syktyvkar, 1971.
Lit .: Christiansen L. Modern folk-song creativity of the Sverdlovsk region. M., 1954; Kazantseva M.G. Interaction of professional and folk song traditions (on the basis of old poems) // Folklore of the Urals: Folklore of cities and towns. Sverdlovsk, 1982; Kaluznikova T.I. Traditional Russian musical calendar of the Middle Urals. Yekaterinburg - Chelyabinsk, 1997; Kaluznikova T.I., Lipatov V.A. Traditional wedding as a musical and dramatic unity (according to modern records in the village of Bilimbay, Sverdlovsk region) // Folklore of the Urals: Existence of folklore in modern times. Sverdlovsk, 1983; They are. Dramaturgy of the wedding action in the village. Bilimbay of the Sverdlovsk region (according to the records of 1973) // Folklore of the Urals: Modern folklore old factories. Sverdlovsk, 1984.
Lit .: Gippius E.V., Ewald Z.V. Udmurt folk songs. Izhevsk, 1989; Golubkova A.N. musical culture Soviet Udmurtia. Izhevsk, 1978; Churakova R.A. Udmurt wedding songs. Ustinov, 1986; Boikova E.B., Vladykina T.G. Udmurt folklore. Songs of the Southern Udmurts. Izhevsk, 1992.

Galina G.S.
Chistalev P.I.
Kaluznikova T.I.
Pron L.G.
Nurieva I.M.. Institute of History and Archeology, Ural Branch of the Russian Academy of Sciences, 1998-2004 .

Traditional head. instruments - bow kyl koumiss, kurai (reed longitudinal flute), kubyz (vargan).

Solo and ensemble singing is widespread, usually in two or three voices.

Russian music. folklore. Formed at the end of the XVI-XVIII centuries. among the first settlers - immigrants from Rus. S., from Middle Russian. region and the Volga region. In Prikamye and Sr.U. detects connections in the main. from North-Russian, to South.U. and in the Trans-Urals - from the North-Russian, Middle-Russian. and Cossack traditions. Local folk music system incl. genres of song and instrumental folklore. The early layer is formed by timed genres - ritual (calendar, family and household) and non-ritual (round dance, lullabies, games). Among the calendar naib. the ancient songs are Christmas, Shrovetide, Trinity-Semitsky. An important role in the local calendar is played by non-ritual genres - round dance, lyric, ditties, acting in the meaning of seasonally timed ones. Performed in the main children, unmarried youth, mummers (shulikuns). Muses. Traditional weddings are made up of lamentations and songs. The first ones, which accompanied the farewell episodes of the ritual, exist in U. in solo and ensemble performances. Two forms of chanting can sound at the same time. Wedding songs are divided into farewell, glorifying, reproachful and commenting on the ritual situation. Performed by female ensembles. The funeral rite associated with the funeral rite combines singing, lamentation in a melody; often accompanied by "lashing" - falling to the grave, table, etc. Performed solo. Ritual genres are characterized by polytext melodies (performed with several texts).

Untimed genres are of later origin and often reveal the influence of mountains. song culture. One of them is lyrical vocal songs, among which, in the local tradition, are love, recruit, historical, prison. Nar. the expression "swing a motive" - shir., with melodic bends to sing words. In present voices are performed by women, less often by mixed ensembles. Dance songs exist in the U. with three types of dances: circular dances, dances, quadrilles, and their varieties (lancei, etc.). Quadrilles are performed accompanied by instrumental tunes, to songs or ditties. Quadrille "under the tongue" are common. The choreography of quadrilles is based on the change of dec. dance figures (5-6, less often 7), each of which is based on one key movement. Dance songs are performed by solo and ensembles (vocal female and mixed, vocal-instrumental) in decomp. household environment. As untimed, and sometimes as a second time dedicated to calendar holidays, wires to recruits, weddings, there are local ditties ("chants", "slander", "turntables"). In each of us. point common Russian. and local ditty melodies, referred to by name. With. or der. Nar. performers differentiate ditty tunes into fast ("cool", "frequent", "short") and slow ("stretching", "sloping", "long"). It is often performed solo, by a duet or by a group of singers unaccompanied or to the balalaika, harmonica, mandolin, violin, guitar, instrumental ensembles, "under the tongue". Among ur. spiritual verses are popular among the Old Believers. Special region. music folklore U. is nar. instrumental music.

Wedding songs are characterized by a strict attachment of the poetic text (muro) to the melody (sem). Among the Eastern Mari, the term muro (song) exists in the meaning of poetic texts, the term sem (melody) - in the meaning of a musical text. Of the songs dedicated to the wedding ceremony, there are: glorious to the groom (erveze vene), bride (erveze sheshke), newlyweds (erveze vlak), parents of the newlyweds and other official characters, reproaches (onchyl shogysho), girlfriend (shayarmash muro vlak), wishes (to newlyweds, friends and girlfriends), notifications (ver tarmesh). A special group in the musical and song folklore of the Mari are songs of Mari etiquette, which are the result of strong tribal relationships. These songs are very diverse both in terms of verses and melodies. These include: guest (? una muro), drinking (port koklashte muro), street (urem muro) songs.

The calendar songs include: prayer readings, Christmas, Shrovetide songs, songs of spring-summer agricultural work, including game (modysh muro), meadow (pasu muro), reaping (muro turemash), mowing (shudo solymash muro); songs of seasonal women's work, such as hemp cultivation (kine shulto), yarn (shudyrash), weaving (kuash), fabric dyeing (chialtash), knitting (pidash), embroidery (choklymash), sit-round, spring-game songs.

The group of lyrical songs is dominated by meditation songs (shonymash), emotional songs (oygan) and songs without words. This genre is widely used mainly in the female environment. Its emergence was facilitated by the special warehouse of the psychology of the Mari, who tend to spiritualize all natural phenomena, objects, plants and animals. A characteristic feature of songs-meditations and songs without words is their intimacy of existence. Shonymash is often based on direct comparison, sometimes opposition to natural phenomena. The most common thoughts are about the past, about the dead, about human vices, about feelings for the mother, about fate, about the end of life, about separation, etc. Songs-experiences are characterized by (oygan) great emotionality.

The songs of social lyrics include soldier's (soldier muro vlak) and recruit songs. Urban folklore is represented by lyrical ballads and romances.

The folk musical instrumentation of the Eastern Mari is quite extensive, if we include not only widespread, but also obsolete instruments. In the list of musical instruments that are currently known: 1) a group of percussion instruments - a drum (tumvyr), the wooden base of which was covered with bull skin, made a hollow sound when played, it was usually customary to play the drum with special massive beaters (ush), a scythe (owl), a washboard (childaran ona), a washing mallet (childaran ush) - a kind of Russian roll, wooden spoons (owl), a noisy tool in the form of a box with a handle (pu kalta), a wooden drum (pu tumvyr), as well as various other household utensils were used as noise instruments. 2) a group of wind instruments with families: flutes - shiyaltash (pipe) - a musical instrument with 3-6 holes, which was made from reed wood of mountain ash, maple or linden bark (aryma shushpyk - nightingale); pipes - udyr beam (maiden's pipe); clarinets - shuvyr (bagpipes). The unique property of this tool is that there is no special bourdon tube (although one of the tubes can play this role). Both tubes (yytyr) of the Mari bagpipes are in principle adapted for playing a melody. Traditionally, bagpipe pipes were made from the bones of the legs of a swan or other long-legged birds (herons, sometimes geese); tuko (horn); chirlyk, ordyshto, chyrlyk puch, umbane (such as zhaleika), acacia kolt (whistles); umsha kovyzh (vargan), sherge (comb).

3) the group of string instruments is subdivided into: a) bow instruments, which include a musical bow (con-con), a violin (violin) with two strings and a bow made of horsehair, similar to the Old Russian whistle, which was customary to play from the knee; b) gusli (kusle) with a semicircular body. In addition, well-known mass musical instruments are widely used among the Mari: Mari harmonica (marla accordion), talyanka, two-row, Saratov, minorka.

In udm. nar. claim-ve stand out two DOS. local traditions - sowing. and south. In the genre system, sowing. traditions are dominated by family ritual songs; songs. Special region. make up polyphonic song improvisations without a meaningful text (krez) and solo autobiographical ones (vesyak krez). In the system of genres of the south. Udmurts are dominated by songs of the agricultural calendar: akashka (beginning of sowing), gershyd (end of sowing), semyk (trinity), etc. In contrast to the north-Udm. songs of the south performed solo or by an ensemble in unison. In the style of the southern Udm. Turkic influences are tangible in the songs.

Lit.: Rybakov S. Music and songs among Muslims. SPb., 1897; Lebedinsky L.N. Bashkir folk songs and tunes. M., 1965; Akhmetov H., Lebedinsky L., Kharisov A. Bashkir folk songs. Ufa, 1954; Fomenkov M. Bashkir folk songs. Ufa, 1976; Atanova L. Collectors and researchers of Bashkir musical folklore. Ufa, 1992.

Mikushev A.K. Song creativity of the Komi people. Syktyvkar, 1956; Kondratiev M.I. and S.A. Komi folk song. M., 1959; Osipov A.G. Songs of the Komi people. Syktyvkar, 1964; Mikushev A.K., Chistalev P.I. Komi folk songs. Issue. 1-2. Syktyvkar, 1966-1968; Mikushev A.K., Chistalev P.I., Rochev Yu.G. Komi folk songs. Issue 3. Syktyvkar, 1971.

Christiansen L. Modern folk-song creativity of the Sverdlovsk region. M., 1954; Kazantseva M.G. Interaction of professional and folk song traditions (on the basis of old poems) // Folklore of the Urals: Folklore of cities and towns. Sverdlovsk, 1982; Kaluznikova T.I. Traditional Russian musical calendar of the Middle Urals. Yekaterinburg - Chelyabinsk, 1997; Kaluznikova T.I., Lipatov V.A. Traditional wedding as a musical and dramatic unity (according to modern records in the village of Bilimbay, Sverdlovsk region) // Folklore of the Urals: Existence of folklore in modern times. Sverdlovsk, 1983; They are. Dramaturgy of the wedding action in the village. Bilimbay of the Sverdlovsk region (according to the records of 1973) // Folklore of the Urals: Modern folklore of old factories. Sverdlovsk, 1984.

Gippius E.V., Evald Z.V. Udmurt folk songs. Izhevsk, 1989; Golubkova A.N. Musical culture of the Soviet Udmurtia. Izhevsk, 1978; Churakova R.A. Udmurt wedding songs. Ustinov, 1986; Boikova E.B., Vladykina T.G. Udmurt folklore. Songs of the Southern Udmurts. Izhevsk, 1992.

Galina G.S. Chistalev P.I. Kaluzhnikova T.I. Pron L.G. Nurieva I.M.

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"Musical folklore of the Urals" in books

From the Urals to the "cast iron"

From the book Priceless Gift author Konchalovskaya Natalya

From the Urals to the "cast iron" Vasya and Mitya never thought that Hein, so careful, so watching them, fell down for three weeks himself with a severe cold. I had to let the coachmen go. The sturgeons were unloaded, packed in mats and deposited in the cellars at the hotel.

Guy from the Urals

From the book Moscow meetings author Rahillo Ivan Spiridonovich

A guy from the Urals on May morning called me on the phone: - Serov crashed. - How did he crash? Not far from Moscow. Prepare for your presentation

X. ON THE SHORE OF THE URAL

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Friends and loved ones since childhood Ural tales Pavel Bazhov formed for millions of readers an impression of the culture of the Ural land, its past, traditions and values. The stories about Danil the Master and the Silver Hoof are so harmoniously inscribed in the ideas about this mountainous region that one has to make an effort to believe that all this is not folk epic, A clean water fiction writer.

Childhood, the Urals and the stories of grandfather Slyshko

Pavel Petrovich Bazhov (real Bazhev) was born in 1879 in the Urals, in Sysert, a town in the Yekaterinburg district of the Perm province, in the family of a mining master. Pavel's childhood was filled with stories and observations of the work of miners, miners, and in hometown, and in Polevsky, where the family moved in 1892. The boy graduated with honors from the factory school, then entered the Yekaterinburg Theological School, then graduated from the seminary. Before the 1917 revolution, Bazhov taught Russian, was a member of the Socialist-Revolutionary Party, and later became a Bolshevik.

Bazhov actively participated in the formation of the new government, led the red partisan detachments during civil war, and then devoted himself to journalism and literature.

"Ural working folklore"

In 1931, Bazhov was commissioned to compile a collection dedicated to pre-revolutionary folklore in the Urals. The requirements were strict - no references to religious topics, rough vernacular, stories about peasant life. Emphasis had to be placed on collective labor and the life of the working class. The writer's predecessor, Uralologist and local historian Vladimir Biryukov, who had previously received such an assignment, stated that it was impossible to find him. Bazhov, whose searches also did not give the desired result, nevertheless wrote several Ural tales - “The Mistress of the Copper Mountain”, “About the Great Poloz”, “Dear Name”, allegedly written down from the words of Vasily Khmelinin, or grandfather Slyshko.

Khmelinin was indeed an acquaintance of Bazhov - in the childhood of the writer, who passed at the Polevsk copper smelter, this former miner, who worked as a watchman, loved to tell the children of the miners the legends of the Ural land. Nevertheless, childhood memories of the Ural legends served Bazhov as a source of inspiration rather than real material for "tales". The writer later admitted that all works are the product of his own composition.

Cartoon frame silver hoof

Folklore or Fakelore?

Meanwhile, it is obvious that the success of Bazhov's fairy tales was predetermined precisely by the similarity with folklore texts - in rhythm, in mood, in sound. The books also included characters borrowed from ancient Ural beliefs, and those that nevertheless had prototypes in folk tales. For example, the galloping fire trap from Bazhov's tale is close to the image of the Golden Baba from the ancient beliefs of the Siberian peoples. As for the Mistress of the copper mountain, the malachite woman, she personifies the pagan spirit of the keeper of the wealth of the Urals, helps the miners and judges everyone who ended up in her possessions. The hostess cannot be called a positive character, "to meet her is bad - grief, and good - there is little joy."

Sculpture of the Mistress of the copper mountain in the city of Berezovsky near the Yuzhnaya mine

Observing the ban received from customers on the inclusion of religious elements in the tales, Bazhov reflected the much more ancient, deep ideas of the Urals about the structure of the world - the worship of the powerful forces of nature, their deification. But main idea tales - the glorification of the master, his skillful and talented hands, his work. She was in tune with the political climate. Soviet era, but also fully reflected Bazhov's values. Serving one's cause is an example not only of his father's life, but also of his own, one cannot but admit that Bazhov was a real master in literature, which was the reason for his recognition by the reader.

Frame from the movie " Stone Flower"

The tales have received real recognition, in the Ural cities, no, no, and you will find a sculptural image of the Mistress of the Copper Mountain, and cartoons and full-length films have been created based on books. Folklore - or faklore - Bazhov outlived both the creator himself and the Soviet government, for the service of which he was created. It is quite possible that, centuries later, the Ural tales will become truly popular, deserving the same status of a folk epic.

And in continuation of the theme of folk legends - whose culture is not only richer than it usually seems to Europeans, but also fraught with many unsolved mysteries.

Folklore musical Ural

Musical folklore of the Urals - multinational. by nature, which is due to the diversity of nat. composition of us. region. The areas of settlement of peoples on the territory. U. intertwined, this contributes to the emergence of decomp. ethnic contacts, which are also manifested in music. folklore. Naib. studied Bashk., Komi, Udm., Rus. music-folk. traditions.

Traditional head. instruments - bow kyl koumiss, kurai (reed longitudinal flute), kubyz (vargan).

Solo and ensemble singing is widespread, usually in two or three voices.

Russian music. folklore. Formed at the end of the XVI-XVIII centuries. among the first settlers - immigrants from Rus. S., from Middle Russian. region and the Volga region. In Prikamye and Sr.U. detects connections in the main. from North-Russian, to South.U. and in the Trans-Urals - from the North-Russian, Middle-Russian. and Cossack traditions. Local folk music system incl. genres of song and instrumental folklore. The early layer is formed by timed genres - ritual (calendar, family and household) and non-ritual (round dance, lullabies, games). Among the calendar naib. the ancient songs are Christmas, Shrovetide, Trinity-Semitsky. An important role in the local calendar is played by non-ritual genres - round dance, lyric, ditties, acting in the meaning of seasonally timed ones. Performed in the main children, unmarried youth, mummers (shulikuns). Muses. Traditional weddings are made up of lamentations and songs. The first ones, which accompanied the farewell episodes of the ritual, exist in U. in solo and ensemble performances. Two forms of chanting can sound at the same time. Wedding songs are divided into farewell, glorifying, reproachful and commenting on the ritual situation. Performed by female ensembles. The funeral rite associated with the funeral rite combines singing, lamentation in a melody; often accompanied by "lashing" - falling to the grave, table, etc. Performed solo. Ritual genres are characterized by polytext melodies (performed with several texts).

Wedding songs are characterized by a strict attachment of the poetic text (muro) to the melody (sem). Among the Eastern Mari, the term muro (song) exists in the meaning of poetic texts, the term sem (melody) - in the meaning of a musical text. Of the songs dedicated to the wedding ceremony, there are: glorious to the groom (erveze vene), bride (erveze sheshke), newlyweds (erveze vlak), parents of the newlyweds and other official characters, reproaches (onchyl shogysho), girlfriend (shayarmash muro vlak), wishes (to newlyweds, friends and girlfriends), notifications (ver tarmesh). A special group in the musical and song folklore of the Mari are songs of Mari etiquette, which are the result of strong tribal relationships. These songs are very diverse both in terms of verses and melodies. These include: guest (? una muro), drinking (port koklashte muro), street (urem muro) songs.

The calendar songs include: prayer readings, Christmas, Shrovetide songs, songs of spring-summer agricultural work, including game (modysh muro), meadow (pasu muro), reaping (muro turemash), mowing (shudo solymash muro); songs of seasonal women's work, such as hemp cultivation (kine shulto), yarn (shudyrash), weaving (kuash), fabric dyeing (chialtash), knitting (pidash), embroidery (choklymash), sit-round, spring-game songs.

The songs of social lyrics include soldier's (soldier muro vlak) and recruit songs. Urban folklore is represented by lyrical ballads and romances.

Galina G.S. Chistalev P.I. Kaluzhnikova T.I. Pron L.G. Nurieva I.M.

The study of the native land at the lessons of literature through folklore.

Author of the work: Pechnikova Albina Anatolyevna, teacher of literature, MOU "Zaikovskaya secondary school No. 1"
Job title:
Description of work:
This work contains guidelines on the inclusion of works by UNT in the program on literature or speech development in grades 5-7. Ural folklore explores the diversity of small genres: interesting stuff about proverbs, sayings, fables, riddles, fairy tales, lullabies, incantations. The study of the native land in the lessons of literature through folklore may be of interest to teachers of primary and secondary levels of the school community. The use of the publication is possible for any teacher with a slight adjustment in relation to his region and the traditions of the area.
Target: preservation and transmission of the heritage of the Ural folklore
Tasks:
1) to instill interest in the native word through acquaintance with the traditions of the Urals;
2) include research materials on proverbs, sayings, fables, riddles, fairy tales, lullabies, incantations and other small genres in the literature program;
3) to form the cognitive activity of schoolchildren and the rapprochement of the parent community and the school.

Money box folk traditions Ural.

It would be naive to think that rural children absorb folklore with their "mother's milk", it would seem that they are closer to natural sources than urban children, children are almost not interested in the works of UNT.
The literature program in grades 5-7 involves the study of CNT, which includes an interesting research material about proverbs, sayings, fables, riddles, fairy tales, lullabies, incantations, but there are very few such lessons. In order to implement the new standard of education of the Federal State Educational Standard, I consider it expedient to include additional lessons on the study of the folklore of the Urals in the literature program. Perhaps these will be lessons on speech and culture of communication, or extracurricular activities by NRC. Children become collectors folk traditions their families, which undoubtedly contributes to the formation of cognitive activity of schoolchildren and the rapprochement of the parental community, and as a result, serves to strengthen family ties. The children receive creative tasks, ask relatives, grandparents, older brothers and sisters, other relatives, what proverbs and sayings they know. Then, in the home circle, children and parents draw up their work, for someone they will fit on a piece of paper - “Proverbs and sayings of my family”, someone will get a small handmade baby book “Folklore in my family” or “Collection of proverbs and sayings used in our home." As a rule, such joint work of adults and children is very attractive to students, the guys are happy to perform in front of great team, do not experience discomfort (even those with poor performance), get high marks and arrange an exhibition in the reader's corner, tell their friends about their successes. In the 19th century, the works of UNT were recorded famous writers, scientists, folklorists and ethnographers.

Pavel Petrovich Bazhov wrote: “Everyone brought something of his own to the Urals in everyday life, his own terminology, his own in songs, in fairy tales, in jokes. The piggy bank of the Ural folklore contains many samples of ancient Russian folk poetry and songwriting, a lot of variants of all-Russian folklore, as well as unique works created by the creativity of folk masters of the region. In a broad sense, folklore is everything that is combined with the word and verbal art. Since folklore is closely connected with the history of the region, acquaintance with the phenomena of folk culture can be presented in a wide range of local forms taken from literary sources. Appeal to local roots, I think, raises the importance of the local in the eyes of schoolchildren. traditional art, will help to strengthen weakened ties with parents, relatives and, perhaps, will allow to overcome the negative and neglectful attitude to oral folk art generally.

Preparation for lessons on folklore can be conditionally divided into several stages. First of all, it is an acquaintance with the history of the region, with people who carry folklore traditions (and there are fewer of them every year). Since children from different villages study at our school, I offer search tasks: learn the history of your village, tell interesting person, write an essay about the nature of the native land, interview the "old-timers" of the village, compose poems about small homeland and so on.

I spend lessons in the 6th grade as a journey through the pages of the national agricultural calendar, a kind of encyclopedia of the workers of the earth, expressed with the help of a poetic word. There are 2 main sections in calendar poetry:
1) folklore associated with the preparation of the land and the growth of bread;
2) folklore, glorifying the end of the year, harvesting and harvesting.
In this order, the calendar year went on the earth, so I build my lessons, for which I take 3 hours.
The class is optionally divided into groups that creatively protect the calendar cycles. Spring rituals merged with the celebration of Easter. The summer cycle was associated with the feasts of the Trinity and the Day of John the Baptist. Ritual poetry works will come to life on the pages of the calendar: songs, omens, riddles, proverbs, games, rituals, myths. The last (testing) lesson gives children the opportunity to “finish” this or that page of the calendar, talk about the peasant holidays of their grandmothers or great-grandmothers, various rituals of the Urals as a result of collecting work. The marriage ceremony is especially interesting for children, the children learn about the sacrament of marriage, they are interested in the wedding of their parents.

The literature program allows schoolchildren to get acquainted with folk ideas about the world of our ancestors through myths about gods associated with nature and various rituals. Much is now lost, forgotten, and only quiet echoes of legends, legends, beliefs are reflected in mythology. I try to give children a clear idea of the myth. The popular, agricultural cult was the solar cult. The solar deities personified the sun, which fertilized the earth.

It turns out that many Ural families have preserved scarves, towels, on which patterns are visible that resemble the rays of the sun and the work of a tiller. The cult of the sun has found a vivid embodiment in architecture. The "sacred" image of a horse (an idea of the daytime path of the sun through the sky on horseback) crowned the highest point of the house. The children found out that this amulet made the house "clean", evil could not penetrate inside. Such a shelter protected all family members. In the ornament of the towel - various variants of the rhombic figure - the idea of infinity and eternity of the world is conveyed, closely connected with the idea of fertility. At their grandmothers' house, the children learned that a rhombus with a hook - ancient image the goddess of fertility, and on the towels that were used to greet the young at weddings, this sign was in special honor.

There are a lot of game songs in the village of Zaikovo, so I give a creative task: what deity is mentioned in the song “And we sowed millet, there is a fret, sowed?” Or I ask schoolchildren to conduct a survey of old people and find out what "spirits" still live in the Ural villages? “Susedka” is an unclean spirit, no one has seen the “neighbour”, most often they come to a person in a dream and strangle him. The watchmen say that in order not to die, one must ask: “For worse or for good?” "Susedka" will blow and disappear. The next day, a person will find out whether the “neighbor” blew for good or for bad. "Poludinka" - a female creature, lives in the garden, most often in cucumber beds.
"Poludinka" scared small children so that they would not trample the beds. Working at the lessons of speech and culture of communication with children, I give tasks of a creative nature: write an essay - a reasoning or an essay on the topics: “Love and protect nature”, “My village is spacious ...”, “History of the village of Zaikovo”, “Retnevsky dawns”, “ A word about a small homeland. Skorodum village. Students not only write interesting work, but also compose poems, make drawings, make a family tree, lovingly select photographs about their native land, and then present their best work to the school community.

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