Mordovian musical instruments and information about them. Abstract: Mordovian folk musical culture: genres, originality and way of life
Julia Mikhailova
Summary of the lesson "City of musical instruments" for the project "In the country of musical instruments of Mordovia"
Lesson #1
Subject: «»
Target: - develop in children the creative process of perception music through the game available to the child musical instruments;
To form in children auditory representations, a sense of rhythm, timbre, dynamics;
Instill interest in Mordovian musical instruments.
Lesson progress
teacher:
Guys, today we are starting an unusual journey. This is a trip to a fairy tale country of musical instruments of our republic - Mordovia.
And once in this country live musical instruments, which means that both sounds and magic live in it. music. Do you hear? Sounds like Mordovian music.
Today we will visit City of Musical Instruments. Guys, do you know what tools are different?
There are drums musical instruments, the sound comes from hitting tool, such as a drum, wind instruments - they sound when they are blown, this is a pipe, flute, trumpet; strings - consist of strings that are played with bows or plucked with fingers. (image display). Among Mordovian musical instruments, the most common beater (shavoma-M., chavoma - E., wooden xylophone (calhtsiamat - M, calceyamat-E), bells (paygonyat - M, bayaginet - E, harp - M, E, violin (garze, arrow - M , kaiga - Uh, flutes (Vyashkoma - M, Veshkema - E); bagpipes (fam, ufam - M, puvama - E, trumpet (dorama, torama - M). Sometimes borrowed ones are also mentioned. tools, for example, an accordion.
And to get to know you better Mordovian musical instruments, I'll tell you a story. And you will help me.
One musician entered the house with a large box. It had different musical instruments. He took out of it a bell, spoons, rattles, a drum, whistles, bells, and many others.
Tomorrow is my son's birthday, and you will all come in handy.
The night came, and suddenly in the silence crackled ratchet:
Fuck-tah-tah. I wonder which one of us the birthday boy will choose?
The drumsticks jumped up and beat out a short roll on the drum.
Tram-there-there! What is this tool - ratchet? Wooden planks, put on a cord. Cod a lot, well no music. Of course the boy will choose the drum. Under my fight, he will be able to march and dance.
Ding-dong, ding-dong, - the bell got excited, - from you, drum, only the sound and the noise, and I can ring merrily, so I'm more suitable for dancing.
Tra-ta-ta, ding-ding-ding, - the spoons entered into a conversation. You are mistaken if you think that spoons are not musical instruments. We are made from the very musical maple tree and we know how to click very loudly, and the jingle of bells adorns our music.
Don't make noise kids, look what it is musical instruments? - Angrily buzzed a huge drum standing in the corner.
Ding dong! And they don't look like us at all. - the bell was surprised.
We are your relatives Mordovian folk instruments .
Musical instruments made noise, fell silent and fell asleep. They woke up from merry laughter and trampling. Children came to visit the boy. Their pens were quickly torn apart musical instruments and the fun began. All tools played their tunes.
Fuck-tah-tah - crackled rattles.
Tram-tam-tam - drumsticks beat.
Ding dong! - the bell rang.
Tra-ta-ta, ding-ding-ding, the spoons were talking.
The boy's father entered. He took mordovian instruments showed the children how to play them. The boys took everything tools and the fun began.
We are all from the same family musical instruments and we have our own names.
My name is mallet!
And I am a funny whistle.
I'm nude, said the sad pipe!
We don't need to argue, - the accordion bred the furs, and that's all the instruments agreed with her!
teacher: Guys, well, we listened to the tale of musical instruments, and now I want to do a little fairy tale quiz. Answer my questions and get a winner's token.
Quiz questions
1. Than drums tools different from strings and brass tools?
2. What sound musical instrument from the fairy tale do you like more and why?
3. If only musical instruments asked you to resolve their dispute, what would you say to them?
4. Come up with your own funny names for different musical instruments.
The teacher summarizes the results of the quiz and rewards the most active participants with commemorative medals with images musical instruments.
sources used.
http://muzichka1.ucoz.ru/
Valdonia (Firefly): Program and method. recommendations
Related publications:
Purpose: Acquaintance with Russian folk musical instruments: tambourine, flute, rattles, balalaika, domra and other instruments.
"Journey to the country of musical instruments" NOD in the preparatory group(carried out with unfamiliar children) Purpose: to acquaint children with noise musical instruments. Improving tasks: preparation of organs.
Abstract directly educational activities"Journey into the world of musical instruments" (different age group) Purpose: To expand.
Summary of the GCD for the middle group "Journey to the country of musical instruments" Summary of the GCD for the middle group "Journey to the country of musical instruments" Tasks: 1. To cultivate a love for music, respect.
Synopsis of the NOD "In the country of musical instruments." For children of the preparatory group Purpose: To form the foundations of the musical culture of preschoolers. Develop musical and creative abilities based on the synthesis of various types.
Abstract of a lesson on the development of speech in the senior group "In the world of musical instruments" Purpose: To expand children's ideas about the variety of musical instruments. Tasks: 1. Introduce children to musical instruments. 2.
Home > DocumentMethodological assistance in mastering the regional and national-regional component of the content of music education
in educational institutions of the Republic of Moldova
According to the section"Musical art" (head of general editor - N.M. Sitnikova) encyclopedia"Mordovia" (editor-in-chief A.I. Sukharev) (2003)
ChapterII
Musical works, genres of folk and professional musical art of Mordovia
Mordovian folk musical art
MORDOVAN FOLK VOCAL MUSIC. Differs in richness of style and genre types. Developed terminology indicates the presence of bunks. music theories. Rooted in deep history. past, M. n. V. m. is organically integrated into the life of the people, their ritual and spectacular rituals and theatergoers. festivities, in which she performs in synthesis with the instrument. music (see. Mordovian folk instrumental music), choreography and pantomime, poetic. (including prosaic) genres of folklore. For M. n. V. m. 2 performing forms are characteristic: single and joint. (collective). Lamentations of all genre types are single intoned, wedding wishes (m. svakhan shnamat, e. kudan morsemat “songs of the matchmaker”), produced. for children (m. nyuryaftoma morot, e. lavs morot "lullaby songs"; m. shaban nalkhksema morot, e. tyakan nalksema "children's play songs"). Styling specificity single performing form in means. degree depends on the relationship with the life of the ethnic group, ritual and non-ritual forms of functioning. Suppressor their parts are characterized by polytext tunes of recitats. and recitative-song warehouse, characterized by archaic melody (in many respects similar to similar tunes of Finnish-speaking peoples), rhythm, determined initially by the syncretism of the word and melody, accompanying. these tunes; poetic texts are replete with archaic elements, in many ways. similar to f.-y. poetry, - alliteration, word repetitions, parallelism, figurative metaphors. substitutions and symbolism, connected. with mythological concept. A unique feature of recitats. and recitation-song tunes is their performance with different pitch-register and timbre-dynamic. shades that have an important semantic. orientation. Among the tunes of the single form of the song style inherent in preim. lullabies and nursery rhymes, there are both historically early and very late ones, up to borrowings (2nd half of the 19th - early 20th century) from Russian. vocal and instrument. music.Main genres M. n. V. m. intonations are non-ritual long epic and lyric. songs (kuvaka morot - m., e.), songs of farmers. calendar (sokaen-vidien morot - m., sokitsyan-viditsyan morot - e.) and b. h. wedding (chiyamon morot - m., wedding morot - e.). In depth thin. generalizations of reality, ideological and thematic. diversity, originality of musical and poetic. images they refer to the top of the snouts. nar. music lawsuit. They reflected the original muses with the greatest brightness. the genius of the people, his thin. participation in f.-u. cultural traditions of the past, centuries-old connections with Turkic music, Slav. and other peoples. M. n. V. m. performance form, rich in its polyphonic style (see Mordovian folk polyphony), has become a center-forming component of all traditions. music the culture of the people. The oldest melodies are preserved in it. forms of single singing, connected. with a chant, and an instrument. playing music with specific burdonirovanie, largely determined ethnic. sound ideal. For joint singing is characteristic of several. vocal manners: intonation in the manner of a leisurely choral narration (morams-korhtams - m., morams-kortams - e.) parts of the mythological. fairy tale songs (“Mastor chachs - koes chachs” - “The earth was born - the custom was born”, “Litova”, “Atyat-Babat” - “The old man with the old woman”, “Tyushtya, “Samanka”, etc.); joint chanting (morams-rangoms - m., e.) carols, Shrovetide and Trinity songs, rain calls, communication. with ancient rituals of asking for blessings from the mythological. patrons; soft dynamically aligned. the sound of choral voices (lyaponyasta yuvadems - m., valanyasto morams - e.) in songs-dialogues with birds, songs about signs of spring, family ballads; in the manner of bright, dense expressive sound leading (yuvatkshnems - m., morams-pizhnems - e.) in the long songs of the Christmas House, moksh. wedding glorifications in the form of good wishes, shoksha songs, timing. to the ice drift.
M. n. V. m. influence on the formation of the style of muzzles. prof. music culture. It is especially noticeable in the work of composers - collectors of bunks. music L.P. Kiryukov G.I. Suraev-Korolev, G.G. Vdovin N.I. Boyarkin M. n. V. m. has not lost thin. values: it sounds in Nar. life, found a new life on the concert stage as in tradition. form, as well as in diverse arrangements and treatments. Texts: Mordovian folk songs. - Saransk, 1957; Mordovian folk songs. -Saransk, 1969; Monuments of Mordovian folk musical art - Moksherzyan folk musical art monument - Moksherzyan folk musical art monument: In 3 volumes - Saransk, 1981 - 1988; Väisänen A. O. Mordwinische Melodien. - Helsinki, 1948. Lit.: Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; He is. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Boyarkina L.B. Vocal diaphony of the Erzya wedding // Music in the wedding ceremony of the Finno-Ugric peoples and neighboring peoples. - Tallinn, 1986; She is. The art of joint singing of the Mordovians of the Volga region // Folklore in the work of Mordovian writers and composers: Tr. NIIYALIE. - Saransk, 1986. - Issue. 86.
L.B. Boyarkina
MORDOVAN FOLK INSTRUMENTAL MUSIC. It has preserved to this day the syncretism of the ancient art. Diverse in social functions (labor, ritual-ritual, aesthetic). It has a developed genre and style system, organically connected. from the traditional vocal music (see Mordovian folk vocal music) and mythological. ethnic concepts. It distinguishes tunes and accompaniments of vocal performance of songs.Of the gains, liaison. with the labor activity of society, are known: working rhythms are concise stable formulas performed on special. percussion instruments (idiophones), sometimes accompanied by singing; hunting noise rhythmically disordered. signals produced by hitting, striking and scraping idiophones for the purpose of driving game to hunters; hunting melodic. signals intoned on natural pipes (m. torama, e. dorama) before and at the end of the hunt. Greatest development the Mordovians received a ritual instrument. music, in which there are 2 basic. class of tunes: non-program and program. The first are widely used. in the recent past, polytimbre noise tunes that accompanied episodes of family and calendar ozks, carnival processions, performed on trees. and metallic idiophones, timbre and dynamics were given decisive importance. The tunes were subdivided into panemat (from panems "to drive away"), performing cathartics, and veshemat (from veshems "to ask") - karpogonich. functions. For software tunes, a variety of genre types is characteristic. The roots of the tunes go back to the most ancient cults preserved by the Finno-Ugric peoples in mythology, song poetry and prose, choreographic. and applied arts, ritual and spectacular forms of tradition. nar. theater. They have stable program names. with the name cult animals, birds and sacred. trees, which are often replaced by metaphors (an old bear, a silver-winged swan, etc.; see Cult of trees, Cult of animals). By the nature and timbre of sound, figuratively-thematic. content, musical and stylistic features and forms of interaction with traditional. song tunes form 2 genre groups: zoo- and ornithomorphic. Zoomorphic software-depicts. and sound imitation. character - ovton kishtemat (bear dances), in the past they were intoned on bagpipes and nudes, nowadays - on the violin and harmonica, accompaniment - shaken metal. and trees. struck idiophones, as well as a mortar with a pestle (a symbol of fertility). Performed at weddings and at the Christmas House. It means different. melodic improvisation. Ornithomorphic tunes of 3 genre types: guvan unamat (cooing of a dove), in which ancient forms of thinking were symbolically reflected; narmon seeremat (call of birds) - Maslenitsa calls of migratory birds intoned on ocarina flutes; narmon kishtemat (dance of birds) is the most developed type of ornithomorphic pieces performed in the past on nude, garzi and gaig, and now on violin, balalaika and harmonica to dance in the Christmas House. The structure-forming function in them is performed by melodic-rhythmic. Components.
Among other genre types is a ritual instrument. music, best preserved among the Mordovians-Shoksha and Erzi, tunes of a symbolically programmatic nature pazmorot (from paz "patron", Moro "song, tune"), which existed on the Ozks, dedicated to. animistic cults of the holy trees and water. The last, along with the main function - the propitiation of Vedyava - other elements of magic are also inherent, for example. cleansing after the wedding night. According to the nature of performance and musical-style features, pazmorot is divided into dance (associated with the cult of water) and lingering (associated with sacred trees), songs under the same names also belong to Crimea.
From non-ceremonial instrument. 2 genre types are known in music: vanytsyan morot (shepherd's songs), a type of musical-philosophical. tool. lyrics, and one morot (songs of the youth). The former are intoned in nude; by music warehouse are improvisations based on drawn out and dance tunes, as well as signal melodics. The second ones are performed at round-robin games, gatherings and autumn gatherings on nude, garzi, gaiga; their program names. similar to the name plays f.-u. and Turk. peoples, connection with the names of girls and boys, animals, life.
In modern the life of the people are widespread tunes, loans. among neighboring peoples: Russians, Tatars, Chuvashs. Tool. music significantly influenced the formation of song melody and polyphony, ethnic. timbre ideal (see Mordovian folk polyphony). Lit .: Boyarkin N.I. Folk musical instruments and instrumental music. - Saransk, 1988; He is. The phenomenon of traditional instrumental polyphony (based on Mordovian music). - SPb., 1995.
N.I. Boyarkin
MORDOVIAN FOLK MUSICAL INSTRUMENTS, traditional monuments. music ethnic culture. Influenced the origin and development of many. traditional forms. music. On the basis of the vibrator (sound source) main. muzzle classes. instruments are idiophones (self-sounding), chordophones (strings) and aerophones (winds).Of the idiophones known: kaldorgofnema (m.), kalderdem (e.). 4 types are widespread. Colliding idiophone - smooth planed maple board dl. 170-200 mm, wide 50-70 mm, thick. OK. 10 mm with handle dl. 100-120 mm, diam. 20-30 mm. On both sides of the handle, 2 small maple plates were attached with rawhide strips. Striking idiophone - a 4-sided box made of solid wood (linden, maple, birch) in cf. length 170-200 mm, wide 100-120 mm with handle at the bottom dl. 100-150 mm. On a harsh pitch. rope, attached on top of a leather strap, a piece of oak knot, lead or an iron nut was hung from the outside. Striking idiophone - hollow, open at one end cylindrical. or 4-, 6-, 8-sided box made of solid wood with a handle (dimensions as in the 2nd species). Unlike the 2nd type, a piece of wood or iron was hung inside the box. Scraper idiophone - smoothly vystrog. cylindrical maple beam forms dl. 100-150 mm, wide 70-80 mm with handle at the bottom and cutout. along the edges of the cylinder with teeth. A tree was attached to the top of the cylinder and the handle. rectangular frame dl. 250-300 mm, wide 100-150 mm or later - metallic. bracket multiple smaller sizes, in the middle of which a flexible tree was tightly strengthened. vibrator plate (kel). In order for it to hold better and spring, a transverse stick was attached in the middle of the frame, and a metal one in the bracket. kernel. When the frame or bracket rotated around the beam (for which the performer made circular movements above his head), the plate jumped from one tooth to another, while making strong clicks, while fast pace turning into crackling. Kalkhtsiyamat (m.), caltsyaemat (e.) - 3, 5, less often 6 trees. ash-tree plates of unequal length, fastened. bast or leather strap. When hitting the plates of trees. with hammers or spoons they made sounds of different heights. In terms of timbre, the instrument resembled a xylophone. Shavoma (m.), Chavoma (e.) - smoothly vystrog. and drunk. composition of pine resin (resin) and hemp oil birch or spruce resonance. a board on which trees were struck. hammers or spoons. The ends of the belt were attached to the edge of the board (sometimes, for strength, the board was covered with a belt), for which it was hung either on the neck just below the chest, or on the arm or shoulder of the performer bent at the elbow - shavitsa (“beating”). Payge (m.), bayaga (e.) - massive wood. board made of oak, birch with rounded angles dl. OK. 150 cm, wide. 40-50 cm, thick. 12-15 cm. She was hung on the gate, installed in the middle of the village on a hillock, and beaten on her with an oak stick, wood. with a hammer or pestle, notifying residents of important events. Paygonyat (m.), bayaginet (e.) (shaken idiophone) - metallic. bells, down. on a cord or hanging freely on a frame. According to the archeology and ethnographic data, the trace is known. types of bells: forged truncated-conic. iron with hemispherical tongue, strong ringing and a rich range of partial tones; hemispherical from non-ferrous metals with a spherical tongue, high register ringing; cylindrical with a low sound; oblong shape with indefinite timbre. Instruments were used in ritual dances, forming a kind of timbre-dynamic. polyphony. Baidyama (m.), Lyulama (e.) - a rod (stick), on top of which a figurine in the form of a horse's head was cut out and 5-7 bells and rattles were hung from it. Accompanied by various rituals. Tsingoryama (m.), Dinnema (e.) - heteroglot. a jew's harp, preserved to this day among the Karatai Mordovians. It is a horseshoe-shaped iron plate with a flexible steel tongue in the middle. The instrument was played preim. dance tunes.
Of the chordophones, the following are known: gaitiyama (m.), Gaidyama (e.) - a slightly bent birch or maple board widening towards one end. 800-1,000 mm, w. from one end, the Crimea rested on the floor, 120-150 mm, from the other - 30-50 mm. One string was usually pulled on it from a harsh pitch. thin rope (thick rope), sheep or less often sinew intestine. Between the board and the rope at a distance of 200-250 mm, an inflated bovine or pork bladder was inserted, which served as a resonator. A bow-shaped bow made of willow or bird cherry twig (without a stretching mechanism) with a stretched pitch. one low sound was extracted with a harsh thread. Dance tunes were performed on the instrument in an ensemble with other instruments (puvamo, garzi), where the gaitiyama played the role of a bass rhythm instrument. In an ensemble with nudes, she tuned to a bagpipe bass pipe, resulting in a kind of "three-part bagpipe". Garzi (m.), Kaiga (e.) - a lute with a total length. 615 mm, length resonator box - 370 mm, width. at the bottom end - 180 mm, top. - 155 mm. To the top. and lower instrument boards had 3 triangular or round holes. The instrument had 3 horsehair strings, a bow without a hair tension mechanism. It was characterized by a fifth or fifth-octave system. Det. the tools were 2/3 of the size of an ordinary garzi.
Aerophones are the most numerous. muzzle class. tools. Seasonal were made preim. in summer from the stems of plants, leaves of trees (strelkasta morama - m.; lop - m., e.; keluvon givgornya - m.; keel tsyokov - e.; sendien morama - m.; sandien morama - e.; shuzhyaren morama - m .; olgon morama - e.; zunder - m., e., etc.). Vyashkoma (m.), Veshkema (e.) - a flute made of linden or willow bark, wood, as well as reed, less often - bird bone. There were 2 types. Kuvaka vyashkoma (long flute) dl. 500-700 mm. Usually 6 vulture holes were cut on it (vaigyal is boiled). An instrument without a whistle device. Nyurkhkyanya vyashkoma (short longitudinal flute) with or without 2-3 fretboard holes with a whistle device. The flute has been known to Mordovians since the Bronze Age. Syovonen vyashkoma (m.), Keven tutushka (e.) - clay hollow whistle from fired. clay with or without 2 playing holes in the form of birds, domestic and wild animals. It was used during calendar and family holidays for intonation of program tunes. The tool is known from the beginning. 1st millennium AD e. Nyudi (m., e.) - clarinet from 2 hollow reed pipes dl. OK. 200 mm, diam. 6-8 mm with notch. on them tongues-vibrators dl. OK. 20mm and 3 neck holes on each barrel. Both tubes were usually mounted in wood. a bed, a cut was inserted into a cow or bull horn, which served as a resonator (sometimes a cone-shaped birch bark was used as a resonator). The instrument had a strong sound with a slight nasal tinge, and was distinguished by a variety of dynamics. On it, detailed 2-voice lingering melodies and fast dances were extracted. tunes. The nude type existed among the Mordovians in the middle. 2nd millennium AD e. Fam (m.), Puvamo (e.) - bagpipes. 2 species are known. The first one had 2 melodies. reed tubes, according to design and name. matching nudes, and 2 bass tubes for extracting low bourdons. The second - ozks fam (m.), ozks puvamo (e.) - was used on prayers to perform ritual tunes. Unlike the first type, he did not have bass bourdons. Polyphons nudi and fam had a great influence on the development of developed forms of Mordovian folk polyphony. Torama (m.), Dorama (e.) - a signal instrument. According to the manufacturing technology, 2 types are distinguished. The first was made from a branch of birch or maple dl. from 800 to 1,000 mm, the edges were split longitudinally and a core was hollowed out from each half. Then both halves were applied and wrapped with birch bark. At the same time, one side of the tube was made wider, the other narrower. The second type was a ring of linden bark, insert. into each other and sealed with wood glue in the form of an expanding tube. To eliminate gaps, the seams of the tube were poured with pitch. Length tool ranged from 500 to 800 mm. On the narrow side, a small bowl-shaped recess was made, or in later versions, a metal piece was occasionally inserted. mouthpiece. Both species lacked vocal openings. The sounds of the overtone series were extracted on them. Shura (m.), Shuro (e.) - a pipe made of bull or cow horn. The mouthpiece was either cut in the form of a small depression or made from a spool of thread. In the latter case, one side of the coil was ground down, inserted into the hole in the horn, and a recess for the lips was made on the other. Shuro was used as a signaling tool (shepherds), as well as ritual, supposedly capable of driving away evil spirits.
From Ser. 19th century balalaika and harmonica, borrowings, entered the life of the Mordovians everywhere. at the Russians. Lit.: Vertkov K.A. etc. Atlas of musical instruments of the peoples of the USSR. - M., 1963; Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; He is. Folk musical instruments and instrumental music. - Saransk, 1988; He is. On some principles of studying musical instruments from the archaeological sites of the Volga Finns // Problems of the ethnogenesis of the peoples of the Volga-Kama region in the light of folklore data. - Astrakhan, 1989.
N.I. Boyarkin
| Musical instruments. Idiophones: 1 (a, b, c, d, e, f, g, h, i). Self-sounding idiophones on women's clothing from archaeological sites (Ryazan-Oka and Murom cemeteries). 2. Idiophone-amulet (Tomsk burial ground, Zarya settlement). 3 (a, b, c, d). Paygonyat (m.), Bayaginet (e.), from archaeological sites (a - Chulkovsky burial ground, b - Zarya settlement, c - Elizabeth-Mikhailovsky burial ground, d - Starobadikovskiy burial ground). 4 (a, b, c). Kaldorgofnemat (m.), Calderdemat (e.). 5. Calchcyamate (m.), Calciumate (e.). 6. Shavoma (m.), Chavoma (e.). 7. Payge (m.), bayaga (e.). 8. Baidyama (m.), Lyulama (e.). 9. Tsingoryama (m.), Dinnema (e.). Chordophones: 10. Gaitiyama (m.), Gaidyama (e.). 11. Garzi (m.). 12. Kaiga (e.). Aerophones: 13 (a, b, c, d). Flutes from Mordovian and Finno-Ugric archaeological sites (a - Black Mountain site, b - Piksiasinsky barrow, c - older Kashirskoye settlement, d - Shcherbinsky settlement). 14. Sendien morama (m.), Sandien morama (e.). 15. Kuvaka vyashkoma (m.), Kuvaka veshkema (e.). 16. Vyashkoma (m.), Veshkema (e.) (with a whistle device). 17. Sevonen vyashkoma (m.), Keven tutushka (n.). 18. Zunder (m., e.). 19. Nudi (m., e.). 20. Fam (m.), puvamo (e.). 21. Torama (m., e.), Dorama (e.). 22. Shura (m.), Shuro (e.). |
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Developed types of vocal and instrument. polyphony - 2-, 3-, 4-voice bourdon polyphony (from French bourdon - thick bass, from Greek poly, phone - lit. polyphony) - formed on the basis of historically early types (heterophony of a monophonic type and diaphony) in the process of development narrow-volume melody of the most ancient songs and instruments. genres. Bourdon polyphony is inherent in all genre types of lyric poetry. and epic. songs, most genres instrument. music. Melodich. the features of each voice are determined by their relationship with Ch. voice - the voice of the song (moro weigel - e.). Melodich. the style of tunes of bourdon polyphony is associated with the melody of the most ancient tunes of recitats. style of funeral and wedding lamentations and lullabies that have survived to this day. elements of f.-y. music community. A striking feature of the polyphonic texture is the stable forms of sequences of second-tertian consonances. Diverse methods of vocalization poetic. text (various word breaks, word repetitions, additions, vowels, etc.) are an important element of it. Great composition. Single intoned chants are important.
Nar. music the lawsuit in the Mordovians absorbed some, preim. late, stylistic types of Russian. polyphony, manifested in the diverse Russian-Mordovs. music forms. Texts: Mordovian folk songs. - Saransk, 1957; Mordovian folk songs. -Saransk, 1969; Monuments of Mordovian folk musical art - Moksherzyan folk musical art monument - Moksherzyan folk musical art monument: In 3 volumes - Saransk, 1981-1988; Vaisänen A.O. Mordwinische Melodien. - Helsinki, 1948. Lit.: Boyarkin N.I. Traditional styles of Moksha-Mordovian polyphony // Finno-Ugric musical folklore and relationships with neighboring cultures. - Tallinn, 1980; Boyarkina L.B. Heterophony in calendar and family-ritual Erzya-Mordovian folk songs // Music in rituals and labor activity Finno-Ugrians. - Tallinn, 1986; She is. The art of joint singing of the Mordovians of the Volga region // Folklore in the work of Mordovian writers and composers: Tr. MNIIYALIE. - Saransk, 1986. - Issue. 86; Zemtsovsky I.I. Music of the oral tradition of the Mordovians: monuments and problems // Ibid.
L.B. Boyarkina
Musical and stage works of composers of Mordovia
"WIND FROM LOWER", music drama in 2 acts. Muses. G.G. Vdovin, based on the play by P.S. Kirillov "Litova", Russian. text by P.A. Zheleznov Libretto by M. I. Frolovsky. Staged 3/3/1981, dir.-post. - Honored figure of lawsuit in the Karelian ASSR L.M. Vilkovich music. hands and conductor - Frolovsky, choirmaster - hon. figure of arts in the MASSR E. A. Purilkina choreographer - G.N. Rubinskaya thin. - D.S. Cherbadzhi Ch. the roles were played by: Litova - E.F. Pronichkina Varda - M.E. Steshina, E.I. Nazarova Archilov - V.V. Medvedsky and P.I. Uchvatov The images of Varda, Syresky, Kaneva and especially Litova are endowed with expressiveness. music characteristics, and at the climax. moments of action of their intonation. the relationship contributes to the creation of a single image of the people, revealed in the choral numbers. Lit .: Sitnikova N.M. Pages of musical history. - Saransk, 2001.N.M. Sitnikov.
"LITOVA", historical drama P.S. Kirillov. Prototype Ch. the heroines are Alena Arzamasskaya-Temnikovskaya, an associate of S. Razin.
Ch. idea of production - the glorification of a strong personality who has overcome slavish obedience in himself and is fighting for the social. and national independence. Premiere of the first national plays in Mordov.-Erzya language. took place on March 30, 1939 on the stage of Mordov. state dram. theater. Dir.-post. V. V. Sychov Hood. A. A. Shuvalov Music. design by M. I. Dushsky. The roles were performed by theater artists: Litova - E.S. Tyagusheva, Archilov - P.D. Vidmanov, Abbess Evlampia - K.G. Ivanova, Vaska - S.I. Kolganov and others. The performance attracted people with its juiciness. lang., the dynamics of the dialogue, the individuality of the characters. Mn. episodes "L." ascend to the national folklore. Known 6 ed. "L.": 2 prose. and 4 poetry.One of the poetic variants of "L." formed the basis of one. nat. music drama. Author's libretto. Muses. L.P. Kiryukov. The 1st production took place on the stage of musical drama. theater 27.5.1943 on Erz. lang. (1st pr. at the all-Russian review of performances, 1945). Dramaturgic. ed. A.A. Shorina, text - N.L. Erkay, instrumentation by L.S. Mandrykin. Dir.-post. Shorin, conductor Mandrykin, choirmaster Kiryukov, choreographer P.N. Litoni, thin. B.I. Roslenko-Rindzenko. Ch. the roles were played by: Litova - V.M. Berchanskaya-Pogodina, A.F. Yudina Vaska - Kolganov; Varda - Honored. artist MASSR A.D. Marshalova G. A. Sakovich Syreska - I.P. Arzhadeev; Kaneva - M.M. Fomichev Tyagushev; Archilov - Honored. art. MASSR I.A. Roslyakov Subsequent productions: in 1959 on Erz. lang., dir.-post. IN AND. Knyazhich as Lithuanian - R.M. Bespalov-Eremeev; in 1969 in Russian. lang., dir.-post. Yu. V. Cherepanov in the role of Lithuania - Bespalov-Eremeev; in 1985 in Russian. lang., dir.-post. Ya.M. Livshits in the role of Lithuania - O.A. Chernova
"L." - the first musical stage. production, creation based on national material. The forerunner of the muzzles. operas. Choral scenes (ceremonial, play) are widely represented in it, in which intonations of muzzles are used. nar. songs. Music personalized. characteristics Ch. heroes of Lithuania and Archilov. Created images, music and decor. design correspond to a specific historical. epoch. Lit .: Shibakov N. Composer Leonty Petrovich Kiryukov. - Saransk, 1968; Aleshkin A. V. Pyotr Kirillov: Essay on creativity. - Saransk, 1974; Folk singers and composers of Mordovia. - Saransk, 1975; Sitnikova N.M. Pages of musical history. - Saransk, 2001. Lit.: Shibakov N. Composer Leonty Petrovich Kiryukov. - Saransk, 1968; Aleshkin A. V. Pyotr Kirillov: Essay on creativity. - Saransk, 1974; Folk singers and composers of Mordovia. - Saransk, 1975; Sitnikova N.M. Pages of musical history. - Saransk, 2001.
A.V. Aleshkin N.M. Sitnikova
SIYAZHAR", lyric-epic. opera in 2 acts (State Prospect of the Republic of Moldova, 1998). Muses. M.N. Fomin, libretto by Fomin based on the poem by V.K. Radaev "Siyazhar". On erz. and Russian languages. At the heart of the plot - free. muzzle fight. people in the 16th century. led by the legendary hero Siyajar. The brightest pages of music "S." associated with the embodiment in the choral scenes of ancient languages. rituals. Staged in 1995 at the State Musical Theater of the Republic of Moldova. Muses. hands and conductor figure of claim in the Republic of Moldova N.N. Klinov dir. honored claimant in Lithuania G.M. Baryshev choirmaster G.L. Novikova choreographer laureate of Ros. region. competition choreographers L.N. Akinina thin. Yu.N. Filatov Gl. parts were performed by: Siyazhar - S.N. Eskin, Nuya - M.E. Maksimova, Andyamo - S.R. Semyonov, Lutma - S.A. Plodukhin, Vitova - O.A. Chernova Lit.: Sitnikova N.M. Pages of musical history. - Saransk, 2001.N.M. Sitnikova
"MOKSHAN ZORI", first muzzle. operetta. In 3 steps. Muses. G.V. Pavlov libretto by I.M. Devin and I.P. Kishnyakova per. in Russian lang. V. Iokar and Y. Kamenetsky. The action takes place in a small town on the banks of the Moksha. The libretto is a comedy-satire. scenes alternate with lyric. Muses. the numbers were created with the participation of the composer K.D. Akimova The intonations of muzzles are used in choral episodes. nar. songs. Delivered in Nov. 1974. Dir.-post. M.I. Clarice Muses. hands and conductor V.T. Shestopalov choirmaster V.A. Kuzin choreographers - laureate of the international. competition A.I. Ivanov and hon. figure of claim in the MASSR E.P. Osmolovsky Ch. the roles were played by: Foreman Mazukhin - V.P. Yakovlev Lisa - A.V. Leonova Lit .: Kalitina N.P. Essays on the Mordovian musical theater. - Saransk, 1986.N.M. Sitnikova
"BRIDE OF THUNDER" musical stage prod. In 1967 on the stage of Mordov. theater of music comedy was staged by the music. drama in 3 acts. Muses. K.D. Akimov libretto by F.S. Atyanina based on muzzles. nar. fairy tales, in moksh. lang. The plot is based on a fairy tale play about the girl Alduna, whom the God of Thunder chose as his bride (see Purginepaz). Aldunya tried to delay the execution of the will of the Thunder, but he threatened the entire region with drought. Leaving the groom-shepherd Turgay, she at the cost of her own. freedom saved the village, the people. Real-everyday scenes in the performance alternate with fabulous-fantastic, drama. episodes - with expanded music. scenes, including solo, ensemble, choral numbers. Colorful and pictorial orchestral episodes. Dir.-post. IN AND. Knyazhich conductor M.I. Frolovsky, choirmaster V.A. Kuzin, choreographer V.N. Nikitin thin. E.S. Nikitin. Ch. the roles were played by: Aldunya - Honored. artist of the Buryat ASSR N.G. Kochergin honored. artist MASSR R.I. Knyazkina Turgay - V.A. Kotlyarov Grom - V.V. Medvedsky, Cloud -R.M. Bespalova-Eremeeva, Priest Kutei -V.S. Kiushkin, Rain - A.P. Kuzin Performance was awarded the All-Russian Diploma. watching music. and dram. performances (Moscow, 1967).In 1990, a new production of “N. G." - opera-ballet in 3 acts. Muses. Akimov and R.G. Gubaidullin libretto by Yu.A. Edelman based on muzzles. epic and fairy tales of Atyanin, in Russian. lang. The libretto is enhanced by social. motives, the action is more dramatized. Means. the place is occupied by people. scenes - choral and choreographic: games of young peasants, rituals of prayers. The music is expressive, genre diverse (songs, arias, ensembles, dances, variations). Used motives, tunes, etc. muzzle intonations. music folklore. Fairy-tale mythical. images are created by sharply characteristic means, properties. Russian prof. music. Dir.-post. V.V. Kuchin conductor N.N. Klinov choirmaster E.A. Purilkina, choreographer O.P. Egorov thin. L.A. Alekseev. Ch. parts were performed by: Aldunya - Honored. artist of the Chuvash ASSR L.I. Kozhevnikova M.E. Maksimova, Turgai - merit. art. MASSR V.P. Egorov Ya.P. Khudoblyak Elder - A.A. Stryukov E.R. Khakimov Grom -L.I. Gruzinov V.S. Salmanov Lightning - O.V. Gavrilkina L.I. Lihoman
N.M. Sitnikova
"NESMEYAN AND LAMZUR" first muzzle. opera in 4 steps. Muses. L.P. Kiryukov, libretto by A.D. Kutorkin based on his poem "Lamzur", in Erz. lang. At the core of the story - Teryushev uprising 1743-45. Prod. saturated with colorful ritual planks. scenes, episodes that captured Nar. weeping and wailing. Lyric. scenes are distinguished by original music close to folk. samples. First production - 12/8/1944. Hood. hands and dir.-post. M.G. Dyskovsky conductor L.S. Mandrykin, choirmaster D.D. Zagorulko choreographer L.I. Kolotnev, thin M.A. Zernina B.I. Roslenko-Rindzenko. Ch. parts were performed by: Nesmeyan - V.V. Markevich Lamzur - A.A. Roslyakova Pumraz - I.M. Yaushev, Vasstanya - T.Ya. Sitnikova Erganya - E.A. Okhotina. Means. shortcomings in the libretto necessitated a revision of the production. And new production(17.5.1947, dir. A.A. Shorin). Lit .: Bassargin B.A., Peshonova V.L. Essays on the history of the Mordovian Soviet theatre. - Saransk, 1966; Shibakov N.I. Composer Leonty Petrovich Kiryukov. - Saransk, 1968; Makarova A. Leonty Petrovich Kiryukov // Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986.N.M. Sitnikova
"NORMAL" opera in 4 acts. Music L.P. Kiryukov, libretto by M.A. Bebana, moksh. lang. "N." - household lyric. drama. The action takes place in muzzles. village until Oct. roar-tion. In the center of the story is the image of the poor peasant girl Normalny. A large place in the opera is occupied by musical stage. embodiment of colorful wedding ceremony. Dramatic, comedic scenes of the rite are presented by the people, as well as created. folk composer. traditions of songs and dances. The first production -19.5.1962. Orchestrated by A.A. Brening. Dir.-post. honored figure of lawsuit in the RSFSR M.P. Ozhigov conductor V.S. Timofeev choirmaster M.I. Frolovsky, choreographer E.I. Markina thin. E.S. Nikitina, A.V. Bulychev Gl. parts were performed by: Normalnya - R.S. Anisimova Pavai - A.F. Guy Mialaga - V.S. Kiushkin, Lyokmay - Nar. art. TASSR and Honored. art. Kazakh SSR I.V. Zhukov G.N. Ivashchenko Uray - D.I. Eremeev A.N. Lisovsky Saldut - Yu.K. Sobolev Vyazhay - R.M. Bespalov-Eremeev. Lit .: Shibakov N.I. Composer Leonty Petrovich Kiryukov. - Saransk, 1968; Makarova A. Leonty Petrovich Kiryukov // Folk singers and composers of Mordovia. - Saransk, 1975.N.M. Sitnikova
"FORGOTTEN MAN", one-act opera. Muses. G.G. Vdovin, play by Ya.V. Apushkin poems by A.I. Polezhaev, libretto by Vdovin, in Russian. lang. The opera depicts an episode from the life of the democratic poet Polezhaev. The composer used ariose melody, everyday song forms. Performed in a concert version on 11/17/1986. Ch. parts were performed by: Alexander Polezhaev - Honored. artist MASSR V.P. Egorov Katya - S.G. Budaeva Colonel Bibikov - N.N. Solodilov Reader - V.V. Dolgov. Orchestra of the State theater of music comedy MASSR, conductor - Vdovin. Lit .: Sitnikova N.M. From song to symphony, or let's listen to music! - Saransk, 1989. N.M. Sitnikova « CHARODEY" operetta in 2 acts. Muses. V.P. Berenkov libretto by V.I. Yesman and K.A. Krikoryan in Russian lang. "Ch." - music-drama. story about the episodes from the life of the sculptor S.D. Erzya. Staged on 10/12/1980 at the Muses Theater. comedy. Dir. - Honored figure of lawsuit in the Karelian ASSR L.M. Vilkovich conductor - V.T. Shestopalov, choirmaster - E.A. Purilkina, choreographer - G.N. Rubinskaya thin. - Honored figure of claim in the RSFSR and the Karelian ASSR V.L. Talalay Gl. the roles were played by: Master - V.V. Medvedsky, Yu.Kh. Tankidis Woman - Honored. artist MASSR L.N. Vysochinenko L.V. Mishanskaya. Lit .: Kalitina N.P. Essays on the Mordovian musical theater. - Saransk, 1986.N.M. Sitnikova
Genre diversity of Mordovian music
VOCAL CYCLE, one of the forms of prof. vocal music (primarily chamber music), where several. vocal miniatures are combined into a major Op. and connected by plot, figuratively, intonation. In the music claim-ve RM V. c. presented in the main lyric and lyrical narration. op. The earliest works: "Songs of Mordovia" in Nar. texts for bass and symphony. orchestra of M. Dushsky (1939), 3 songs per line. F. Atyanina for women. voice and piano by I. Sokolova (1958), “Songs native land» on nar. texts and A. Eskin and P. Gaini for mezzo-soprano and piano by G. Vdovin (1963). In V. c. Vdovina "From Mordovian Folk Poetry" for contralto and button accordion or piano (1970-79) lyrics nar. songs served as the basis for creating a variety of pictures of life. N. Kosheleva - author of V. c. Moksha Songs (1975) and Folk Triptych (1994) for mezzo-soprano and string quartet. Bright perception of the beauty of muzzles. land is inherent in V. c. G. Suraeva-Koroleva "Kelgomother Moronza" - "Songs of Love" on the next. Y. Azrapkina (1986) and Gen. Suraeva-Koroleva "I say goodbye to you, village" on the lyrics. N. Snegireva (1993). Philos. comprehension of life is characteristic of muses. embodiment in V. c. Vdovina "Three monologues" for soprano and symphony. orchestra on the next L. Tatyanicheva (1969) and "Autumn" on the next page. L. Talalaevsky (1984). Love lyrics are presented in V. c. for baritone and piano "Again about you, my love" on op. K. Kuliev (1986) and "Poem T" on the next page. poets of Mordovia (1988) M. Fomina, "I kiss you" on the lyrics. Talalaevsky Gen. Suraeva-Korolev, as well as E. Kuzina on the next page. A. Akhmatova (1984) and M. Tsvetaeva (1991), "Three monologues" Gen. Suraeva-Koroleva on the next L. Gubaidullina. Citizen-patriotic the theme is characteristic of V. c. S. Ya. Terkhanova: “The century of my birth” (lyrics by V. Shamshurin) and “Letter to a peer” (lyrics by A. Chebotarev, 1970-80s). AMD the pictures are captured in the cycle of ballads on the next page. Yu. Adrianov ("Brody" and "Third Position"), song-romance cycle on the next. Y. Levitansky; lyric sketches - in V. c. on the next A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky (1980-90s). A number of V. c. written by Terkhanov on the next A. Pushkin, K. Balmont, sonnets by W. Shakespeare. In the work of composers of Mordovia there is V. c. for children. Lit .: Folk singers and composers of Mordovia. - Saransk, 1975; Kurysheva T. Chamber vocal cycle in modern Russian Soviet music // Questions musical form. - M., 1976. - Issue. 1; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986.N. M. Sitnikova.
JAZZ(English jazz), genus. prof. music lawsuit. Folded to the beginning. 20th century based on Afro-Amer. and European music cultures. In Mordovia, the first variety ensembles arose in the 1950s. Among the musicians, S. A. Beloklokov (accordion) and V. V. Kovrigin (clarinet, saxophone) stood out, as part of a trio or quartet, they performed before the start of film shows and in the clubs of Saransk, Ruzaevka. Performed classic. jazz compositions. In the beginning. 1960s Means. place in the concert programs was occupied by improvisation. D. At this time in the music. A. V. Batenkov (trumpet, pianoforte), Yu. A. Barsukov (saxophones) and V. A. Pautov (trombone; now Honored Artist of the Republic of Moldova) began to play in collectives. In 1963, a tradition was created. big band (3-4 saxophones, 3 trumpets, 3 trombones, rhythm section). In his repertoire sounded production. D. Garland, D. Gershwin, D. Ellington. The orchestra performed in front of a youth audience. The play of musicians V. N. Vedyasov, V. V. Markin (piano), P. A. Bychkov, V. P. Nightingale (saxophones), S. N. Kashtanova, I. P. Popova (trumpet), E. B Sevryukov (clarinet) was distinguished by an accurate sense of the specifics of D., virtuosity. IN different years the team was led by I. R. Chelobyan, B. V. Kovalev, Batenkov. The orchestra existed until the beginning. 1980s At the same time, the same musicians united in jazz and pop groups ("Vastoma", "Ornament", etc.). In 1997, the big band resumed its activities on the basis of the brass band of the Saransk Muses. school. His repertoire was replenished with op. K. Krautgartner, G. A. Garanyan, A. Tsfasman. Among the performers of this period were S. N. Vasiliev (trumpet), K. S. Levin (drums), honored. cultural worker of the Republic of Moldova V. G. Trunin (clarinet, saxophone). In con. 1990s A. V. Kurin (piano, trombone) created the Ark-Mainstream jazz quintet, and then the D. Club. The quintet is played by A. V. Belyanushkin, P. V. Lamkov (saxophones), S. V. Guly (double bass), A. A. Knyazkov (drums). The ensemble performed at the Russian jazz festivals. In 1999, on the initiative of V.I. Romashkin and Kurin, the Torama-jazz collective was formed, which performed in Poland, Finland, and Estonia. Performs production. ethnic D. In 2002 in Saransk (for the first time in Mordovia) the 1st Intern. festival of jazz music "Veyse-jazz", in which the rep. ensembles known to performers Garanyan, D. S. Goloshchekin, ensembles from Hungary and Russian cities, including Moscow, St. Petersburg, Nizhny Novgorod, Samara.Intonation-rhythm. and harmonic. means D. uses in his vocal and instrument. the work of G. G. Suraev-Korolev (vocal cycles, concerto for piano and orchestra, sonata for piano, preludes-improvisations). Lit.: Weise-jazz - 2002: The first international. jazz music festival. - Saransk, 2002.
V.B. Makhaev, N. M. Sitnikova.
CHAMBER MUSIC, tool. or vocal music for a small group of performers (from 1 to several) united in a chamber ensemble (duet, trio, quartet, etc.). Ch. modern genres of chamber vocal music - romance, vocal cycle; chamber instrument. - sonata, chamber ensemble. At the stage of formation of prof. music of Mordovia, composers turned to pieces for the violin. Among them, M. I. Dushsky - the author of "Mordovian Dances" for 2 violins (1940), I. V. Sokolova - Mordovians. dances (1950-60s), G. I. Suraev-Korolev - "Moksha wedding song" (1960). Later, Op. For various tools symphonic orchestra: sonata for solo cello by G. G. Vdovin (1964), sonata for flute solo (1981) and bassoon solo (1987) by N. N. Mitin, suite for flute and piano (1987) by M. N. Fomina , a cycle of pieces for 2 clarinets (1989) and the suite "Yovksto saevkst" ("From Fairy Tales") for 2 clarinets and piano in 4 hands (1990) by N. I. Boyarkin, pieces for flute and piano (1992) and viola solo (1993) D. V. Buyanova Prod. large form, div. miniatures, as well as cycles of pieces written for piano (see. piano music). Suraev-Korolev was the first to address the genre of the string quartet - the 1st string quartet (E minor, 1961). It organically used and developed various melodic, harmonic, metro-rhythmic. means, communication from the traditional muzzles. music. His 2nd quartet (1986) is dedicated to the memory of L.P. Kiryukov. At the heart of music the language of the string quartet by N. V. Kosheleva (1975, at 2 o'clock) is also an original nat. music material. In Vdovin's work, the genre of the string quartet received a multifaceted and constructively original interpretation: suite as a form-building factor is characteristic of the structure (9 preludes) of string quartet No. 1 (1974), quartet No. 2 (1984) is a composition of 3 parts, in which used new for the music of Mordovia polyphonic. forms and techniques inherent in the early (12-13 centuries) European. samples, but in modern modal-linear refraction. In string quartet No. 3 (1989) 5 hours form a rondo-shaped cycle, in quartet No. 4 (“In memory of A. A. Nesterov”, 1999) it will conclude. The episode is reminiscent of the Orthodox funeral service, which was facilitated figuratively and emotionally. idea development. In the 1990s search for individualized will express. funds within the boundaries of their own. thin styles are characteristic of chamber ensembles and other composers of the republic. Classic polyphonic forms used in 3 fugues for string quartet (1993) by Kosheleva. Composition of the Buyanov Quartet (1998) - violin, viola, cello, piano, music. in the language of a one-part composition - reliance on avant-garde means (sonority, pointillism). String quartet by G. G. Suraev-Korolev “Dedication to E. Grieg” (2000) - stylized Norwegian. halling dance. Ensembles for wind instruments are presented in the Mordovia Conservatory. For the first time, G.V. Pavlov turned to such a composition (in the 1960s). In 1979 Mitin wrote a quartet (flute, clarinet, horn, bassoon) at 3 o'clock, music. the images to-rogo are saturated with scherzo intonations and rhythms. Several pieces for various compositions of wind instruments were created by S. Ya. Terkhanov, including “Folk Motif” for flute, clarinet, bassoon (1987), “Triangle” for flute, clarinet, trombone and percussion instruments (1991). In the work of Kosheleva - 3 fugues for a quartet of wind instruments (1995). Lit .: Folk singers and composers of Mordovia. - Saransk, 1975; Makarova A.I. We are waiting for new prime ministers // Sov. music. - 1985. - No. 7; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. Pages of musical history. - Saransk, 2001. N.M. Sitnikova MUSIC FOR RUSSIAN FOLK INSTRUMENTS created. composers of Mordovia for performance on the balalaika, domra, button accordion, ensembles and orchestras (see Orchestra of Russian Folk Instruments). Often contains means of expressiveness, properties. folk. traditions. The first creator of such products. was L.I. Warriors (see Temnikovsky Orchestra of Russian Folk Instruments). For the balalaika, he wrote Mordovskaya Dancing (1947), a fantasy for 2 snouts. themes (1948) and concert variations with piano accompaniment (1964), 1st concerto for balalaika and orchestra rus. nar. instruments (1945) and the 2nd concerto for balalaika with symphony. orchestra (1951). For the finished button accordion they composed: G.G. Vdovin (2 preludes, 1961; "Musical Moment", 1970; cycle "Five Transiences", 1972), N.N. Mitin (Scherzo, 1982); ready-selected button accordion - Vdovin (sonata in 4 hours, 1974; "Elegy", 1986), G.G. Suraev-Korolev (prelude, 1998; Three Moods, 1999); for ready-to-select button accordion and string quartet - D.V. Buyanov (“Fantasy based on Salvador Dali”, 1999).Express. possibilities of the Russian orchestra. nar. tools are related to its composition. Among the products - both small pieces (“March on Mordovian Themes” by Voinov (1964), 2 pieces for orchestra (1964) and “Mordovian Dance” (2002) by Vdovin), and production. large form: 2 multi-part suites by Voinov - 1st, "Forest Scenes" (1926) and 2nd (1951), "Chants" (1975) Vdovin, suite (1986) N.V. Kosheleva "Temnikovskaya" (1990) Mitin. Other muses. the forms were used by Voinov in the overtures "35 Years of October" (1952), "1917" (1961) and Vdovin in "Sinfonietta" (1988). M. for river. n. And. composed and self-made. composers of Mordovia: V.M. Kislyakov - 4 suites for orchestra and a concerto for button accordion and orchestra; known treatments for Nar. melodies for button accordion (authors: A.P. Putushkin, V.I. Strokin and V.A. Beloklokov). Texts: Concert pieces for button accordion. - M., 1979. - Issue. 33; Collection of works of Mordovian music for button accordion. - Saransk, 1993; Odinokova T.I. Mordovian music in elementary school. - Saransk, 1994. Lit .: Folk singers and composers of Mordovia. - Saransk, 1975.
V.P. Buyanov
OPERA kind of music-drama. production, basic on the synthesis of the word, stage. action and music, which is Ch. means of embodying the content and the driving force of the action. In Mordovia, attempts to create a national O. were undertaken in con. 1930s (“Kuzma Alekseev”, music by V.K. Aleksandrov, libretto by Y.P. Grigoshin; “Ermez”, music by D.M. Melkikh, produced by Ya.Ya. Kuldurkaev; not completed and not staged). Large musical stage. production, which became the 1st step on the way to the creation of O., became the music. drama L.P. Kiryukov "Litova" (1943). In 1944, the 1st National O. "Nesmeyan and Lamzur", in 1962 - "Normal". Epic. Kirillov's poem "Litova" received a new music. incarnation in music drama G.G. Widowina "Wind from the Lower River" (1981). Against the backdrop of long-standing events of history, pictures of the life of muzzles unfold. people and lyric. scenes in the O.M.N. Fomin "Siyazhar" (1995). Mythological the plot is captured in the musical stage. performance "The Bride of Thunder" (O.-ballet, 1990). In other musical stage. prod. composers of Mordovia turned to different themes. The experience of creating an orchestra for soloists, a choir and an orchestra of Russian folk instruments “The Tale of the Priest and His Worker Balda” (based on the work of A.S. Pushkin L.I. Voinov (1924) is interesting. Vdovin is the author of the lyric. O. “In six o'clock in the evening after the war "(1975; libretto by M.I. Frolovsky based on the film script by V.M. Gusev In O. The same composer's "Stepson of Fate" captures an episode from the life of A.I. Polezhaev (1986). Musical means of modern . pop music characteristic of rock shows-O. G.G. Suraeva-Koroleva "What is happiness?" (1990, libretto by L.M. Talalaevsky In the genre of operetta, works by G.V. Pavlov (“Mokshanskie Dawns”, 1974), Vdovin (“ the main role”, 1978), V.P. Berenkov ("Wizard", 1980). Muses were staged on the stage of the State Musical Theater of the Republic of Moldova. fairy tales N.V. Kosheleva "Silver Lake" (1989), E.V. Cousin "Once upon a time there was a Bunny" (1997). Lit .: Druskin M. Questions of the musical dramaturgy of the opera. - L., 1952; Bassargin B.A., Peshonova V.L. Essays on the history of the Mordovian Soviet theatre. - Saransk, 1966; Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. Pages of musical history. - Saransk, 2001.N.M. Sitnikova
ORATORIO major music. prod. for choir, singer-soloists, symphony. orchestra. Designed for concert performance. As a rule, it consists of several parts (choirs, ensembles, solo numbers), in which dramas are embodied. plot, themes of societies. sound. O. is characterized by narrative, epic. In muzzles. music G.I. Suraev-Korolev. Op. "The Last Judgment" at 6 o'clock (own. libretto, 1973; State Pr. MASSR, 1973), containing. a call to fight for peace, has great emotional power. impact. It combines philosophy. generalization and figurative concreteness (the author's definition of “fantastic oratorio” is supported by the introduction of symbolic images into the libretto - Mother (Earthly Love), Voice of Freedom, Judge of the World, as well as ballet episodes). 1st performance took place in 1974 (choir and symphony orchestra of Saransky music school, conductor N.I. Boyarkin, choirmaster A.Ya. Levin, soloists R.M. Bespalova-Eremeeva, R.N. Isaeva T.I. Tyurkina N.A. Madonov, R.I. Knyazkina V O. "The Song of Military Glory" for laughter. choir, reader, soloists and symphony. orchestra at 5 o'clock N.V. Kosheleva (text by A.I. Pudin, 1985) reflects a protest against war and violence. Song-epic. music means of expression associated with tradition. genres of muzzles. folklore. Dep. parts of O. are often performed in concerts. Completely manufactured. performed in 1989 (choirs of the Saransk Musical School and the Republican Children's Music Boarding School, soloists L.A. Kuznetsova, V.P. Khudoblyak, accompanied by piano; conductor - Honored Worker of Culture of the Republic of Moldova S.S. Molina Lit .: Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. Pages of musical history. - Saransk, 2001.N.M. Sitnikova
SONG, type of vocal music, osn. will express. means to-rogo is a combination of melody and text. Distinguish Nar. (see Mordovian folk vocal music) and the author's prof. and do-it-yourselfers. (see "Capel") P., i.e. prof. and do-it-yourselfers. thin creation; by the nature of the performance - solo and choral, unaccompanied and accompanied by piano, button accordion and instrument. ensemble (see Amateur artistic performance). The first muzzles. author's P. belong to L. Kiryukov (1940s). In the 1950s and 60s G. Pavlov and G.I. Suraev-Korolev, in the 1970s - G. Vdovin (a combination of Mordovians, musical folklore and Soviet folklore is characteristic of the intonational system). Since the 1980s N. Kosheleva, E. Kuzina, N. Mitin, G.G. Suraev-Korolev, S. Terkhanov. Composers of Mordovia created approx. 400 P.; the majority - to the words of the poets of Mordovia in Moksh., Erz. and Russian languages (F. Atyanin, A. Gromykhin, I. Devin, A. Doronin, A. Yezhov, R. Kemaikina, S. Kinyakin, M. Moiseev, N. Mokshin, V. Nesterov, A. Pudin, K. Smorodin, Yu. Sukhorukov, M. Uezdin, P. Chernyaev, N. Erkay and others). There was creativity. Commonwealth of the poet and composer: L. Talalaevsky - Vdovin, N. Zadalskaya - Kuzina, E. Sadulin (N. Novgorod) - Terkhanov. Mn. composers themselves write the texts of P.The themes of P. are varied. A special place in the song work of the composers of Mordovia is occupied by patriotic. P .: “Blossom, my country” Kiryukov (lyrics by D. Uraev), “Our land, Mordovia” G.I. Suraeva-Koroleva (lyrics by P. Gaini, authorised. translated by B. Sokolov), “Mordovia” by Vdovin (lyrics by I. Kalinkin), “My Mordovia” by Kosheleva (lyrics by M. Troshkin), “Glory, Mordovia!” G.G. Suraeva-Koroleva (author's lyrics), Kuzina's "Dawns over the Moksha River" (author's lyrics), Terkhanov's "Poem about Mordovia" (author's lyrics). Teme Vel. Fatherland war and the defense of peace are dedicated to P. "For Peace" by Kiryukov (lyrics by A. Martynov), "Roslavl Red Banner" by G.I. Suraeva-Koroleva (lyrics by N. Alexandrov and V. Kostrikov), “The Night Passed” by Vdovin (lyrics by P. Kirillov), “At the Tomb of the Unknown Soldier” by Kosheleva (lyrics by Uezdin), “Szeged Tank Regiment” by G.G. Suraeva-Koroleva (author's lyrics), Mitin's "Song of the Mother" (Talalaevsky's lyrics), Kuzina's "Brides Who Did Not Become Wives" (lyrics by L. Tatyanicheva), Terkhanov's "Dream Ballad" (author's lyrics). The most widespread among mass and pop songs: lyric. - “Panzhi lame poras” - “When bird cherry blossoms” by Kosheleva (lyrics by I. Devin), “Oh, muzzle” by G.G. Suraeva-Korolev (lyrics by Yu. Azrapkin), Pavlov's "Hair-haired" (lyrics by A. Malkin), "You are leaving" Terkhanov (lyrics by V. Sosnora), Kuzina's "Prayer" (lyrics by T. Kuzovleva); on the theme of love for a mother and maternal love - “Tyuty-ball” by Kiryukov (lyrics by F. Atyanin), “Daughter love” by Kosheleva (lyrics by Chernyaev), “Sembodonga mazynai” - “More beautiful than everyone” by Kosheleva (lyrics by S. Kinyakin ), “Mother’s Hands” by Mitin (words by Talalaevsky), “Mother” by Terkhanov (words by the author); P. about children and for children - “Kafta ezhuft” - “Two sly ones” by Kosheleva (lyrics by V. Mishanina), “What is kindness?” Terkhanova (lyrics by Sadulin), "Listen to the Music of Heaven" by Kuzina (lyrics by Zadalskaya).
Soloists of the Mordovia State Philharmonic Society and the State Musical Theater of the Republic of Moldova (M. Antonova, A. Klykov, V. Kudryashov, L. Kuznetsova, A. Kulikova, N. Markova, S. Plodukhin, S. Semyonov, N. Spirkina ), as well as self-made. artists. G.G. Suraev-Korolev, Kuzina, M. Fomin often present their songs themselves. CDs (audio) have been recorded: “Modern Choral Music of Composers of Mordovia”, “Panzhi Laime Poras” (“When Bird Cherry Blossoms”) by Kosheleva, “Our Meetings” by Kuzina, "My Shores", "Islands of Childhood" by Terkhanov.
Self-made. composers create P. to perform. collectives, to which they lead (V.A. Beloklokov, V.A. Bychkov I.I. Ignatov V.I. Strokin - Saransk; S.N. Tikhov - Krasnoslobodsk; N.V. Kiselev - Ruzaevka, G. I. Mazaev - Kochkurovsky district, I. Ovchinnikov - Kovylkinsky district, etc.). Texts: Moksha-Mordovian songs. - M., 1935; Songs of Mordovia. - Saransk, 1959; Pavlov G.V. Songs and romances. - Saransk, 1963; Songs of Mordovia. - Saransk, 1987; School years miraculous. - Saransk, 1988; With a song for life. - Saransk, 1989; Kosheleva N.V. Hear my song - Saransk, 1994; Odinokova T.I. Mordovian music in elementary school. - Saransk, 1994; Moksherzyan frost. - M., 1929; Moron pusmo - Song bouquet. - Saransk, 2000. Lit.: Sitnikova N.M. Pages of musical history. - Saransk, 2001.
I.A. Galkina
ROMANCE, chamber vocal production for voice with instrument. accompaniment (see Chamber music, Vocal music). R. are characterized by an appeal to ext. world of man, poetization of personal feelings, psychological. depth. The melody, more than in the song, is connected with the text, reflecting all the nuances of the mood. The synthesis of music and words can manifest itself in a melodious recitation and an extended vocal line of the opera type. Express. accompaniment matters (more often - piano). Genre varieties of R.: ballad, elegy, dramatic. stage, etc. R. are often combined into vocal cycles.In prof. R. appeared in the music of Mordovia in the 20th century. Melody harmonica. means of a number of samples are associated with folk. traditions (see Mordovian folk vocal music). Composers turn to the poems of the poets of Mordovia, classical, modern. Russian and Western European poetry. Texts - in Russian, Moksh, Erz. languages. The first R. are recorded in the work of M.I. Dushsky (“Despair” to lyrics by A.I. Polezhaev, 1938, etc.). In R. last. captured for decades wide circle images and music.-express. means: the lyrics of light love feelings - in R. L.P. Kiryukov on the next F.S. Atyanin "Ilyaden Moro" - "Evening Song" (1958), G.I. Suraeva-Koroleva on the next I.N. Kudashkin "Tell me, my only one" (1993), S.Ya. Terkhanov on the next T. Sidorova "I like to be yours", I.G. Ehrenburg "So wait ..." (1997); bright emotionality and a developed piano part - in R.I.V. Sokolova on the next Suraeva-Koroleva "Mon Lisyan" - "I will go out" (1958), G.G. Widow on the next P.U. Guyney "Sonnet" (1963); the state of spiritual self-deepening is reflected in R. Terkhanov “I am a leaf” on the next. N. Shumak (1994), 2 "Sonnets" on the next. W. Shakespeare (1998), D.W. Buyanova on the next A.A. Tarkovsky "Candle" (1991), own. sl. "Prayer", "Your View", (2002). Often in lyric the images of nature harmonize with the mood of a person in the narrative: R. Suraeva-Koroleva on the next. A.S. Pushkin "To the Sea" (1940), Sokolova on the next. Atyanina "Tunda" - "Spring", "Seksen Mora" - "Autumn Song", "Cranes" (1958), Vdovina on the next. E.A. Yevtushenko "Autumn" (1973), "White snows are falling" (1981), Pushkin's "October has already come ..." (1998). In the genre of vocal ballads, R. Terkhanova wrote on the lyrics. Y. Andrianov "Brody" and "Third Position" (1986), R. Romanova "In the field, in the open" (2002). In vocal works G.G. Suraeva-Koroleva (“Forgive me” to lyrics by E. Naumova, 2000, “Come” to lyrics by Y. Azrapkin, 2002), E.V. Cousin ("Let's talk to you" to lyrics by N. Zadalskaya, 2002) R. acquired the features of modern. pop song. Stylistic proximity to Russian household R. - in Op. "I can't forget" N.V. Kosheleva on the next A.N. Terentiev (1981). R. composers of Mordovia are included in the repertoire of soloists of the Mordovian State Philharmonic Society, the State Musical Theater of the Republic of Moldova.
N.M. Sitnikova
SYMPHONIC MUSIC, music, intended to perform symphonic orchestra; most means. and diversified tool area. music, covering large multi-part compositions of complex figurative-thematic. content and short plays. Characteristic genres: symphony, symphony. poem, suite, concerto, overture. In the Republic of Moldova, the first samples of S. m. were created by M.I. Dushsky - 2 suites for symphony. orchestra (1938, 1939). In them, the composer, following the traditions of Russian. classical music, transformed his idea of Mordov. edge, using the melodies of some bunks. songs and tunes for colorful timbre-intonation. variations. In 1958 L.I. Voinov wrote the symphonietta at 3 o'clock; in the 1960s G.V. Pavlov - 2 overtures for symphony. orchestra, dominated by marching dance. facilities. Def. the theme distinguishes the "Jubilee Overture" by G.G. Widow (1969). Turning points in the creation of S. m were con. 1960s - early. 70s For her Op. were characterized by the search for new expressions. funds, enrichment thin. traditions the achievements of modern. European and Russian music culture. The beginning of this stage is the creation by Vdovin of the 1st symphony (1968), the first in the history of Mordovians. music (diploma of the All-Union Review of Young Composers, 1969), it is distinguished by figurative-psychological. depth, conciseness; His 2nd symphony (1972) is characterized by lyric landscape and mood, cheerful buffoonery; 3rd Symphony (1989) - drama. thinking about the purity of the soul, which can save a person in a totalitarian world; in the 4th (1993) the author develops the figurative sphere of antecedents. N.N. Mitin is the author of 2 major one-movement symphonies. Prod.: symphoniettas (1979) and symphonies "Ruzaevka" (1989; the first work of this genre, which has a specific literary program - based on the story "Glow over Ruzaevka" by F.K. Andrianov). The desire for conciseness, minimizing thin. techniques characteristic of the symphony in 2 hours D.V. Buyanova (1996).From con. 1980s composers of Mordovia are actively turning to the symphonic genre. poems. First op. of this kind - symphony. poem "Erzya" E.V. Kuzina (1988), touching on. the theme of personality in the lawsuit. For the symphonic poems by S.Ya. Terkhanov (1991) are characterized by the opposition of muses. symbols of good and evil, the originality of the orchestral composition (vocal parts, children's choir, organ). Symphony poem by G.G. Suraeva-Koroleva "The Call" (1999) is defined by the author as "the mood for a symphony orchestra", "Light and Shadow" (2000) - a colorfully bright painting, "Symphony of short stories" (2001) - a kaleidoscope of diverse episodes. In concerto for symphony. Kuzina's orchestra (1992) are colorfully expressive. the possibilities of different tools; in the symphony suite from the ballet "Alena Arzamasskaya" by N.V. Kosheleva (1979) created the image of the legendary heroine of Mordov. people (see Alena Arzamasskaya-Temnikovskaya), a specific program design is characteristic of her symphony. suite "Portraits of Women" based on sculptures by S.D. Erzi (2001). Tool. sketches in the “Suite based on sculptures by S.D. Erzya" for chamber orchestra (1989) was created by Terkhanov. Lit.: Popova T.V. Symphonic music. - M., 1963; Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. From song to symphony, or let's listen to music! - Saransk, 1989.
N.M. Sitnikova
PIANO MUSIC, one of means. tool areas. music, covering large multipart productions. (sonatas, concertos) and small pieces of various content. In the work of composers of Mordovia, musical composition became widespread in the 2nd half. 20th century An important feature of its identity is the implementation of the traditions of song and instrument. muzzles. folklore in the forms and genres of classical, modern. Western European and Russian music. For the basis of music. material is often taken folk. source. The first means. op. in the field of F. m. - fantasy (in the original edition - variations) on the theme of muzzles. nar. songs "Roman Aksyas" - "Romanova Aksinya" (1959) G.I. Suraeva-Koroleva. The line of concert pianism is continued in major works. G.G. Vdovina - 2 sonatas (1971, 1983), fantasy (1973), ballad (1991), cycle "Preludes and Fugues" (2003); I.V. Sokolova - concert variations on muzzles. nar. songs (1974-86); E.V. Cousin - toccata (1983); G.G. Suraeva-Koroleva - toccata (1984), sonata (1986). Varied in mood and content, small-form plays were first presented in the works of L.P. Kiryukov, in the cycle "Eleven Piano Miniatures" (1959-62; Saransk, 2003), c. including prelude, scherzo, elegy. Among the products, created. later, “Ten Preludes-Improvisations” by G.G. Suraeva-Koroleva (Saransk, 1994), preludes by N.N. Mitina, dep. plays by Kuzina, M.N. Fomin. Means. part of F. m. are software products. Kiryukov's plays stand out - "Morning", "Spring Echoes" (1959-62), G.I. Suraeva-Koroleva - "Dream" (1965), Vdovina - triptych on sculptures by S. Erzya: "Dream", "Moses", "Dance" (1965-68), "Portraits" cycle (2003), S.Ya. Terkhanova - "Waltz-Vision", "Random Motif" (1995-2000). Variety in terms of genre F. m. for children (from songs, dances, marches to variations and sonatinas), represented. in collections and cycles: 8 Easy Pieces for Piano (1966), 5 Very Easy Pieces for Piano (1971) Vdovina; 40 studies (1973-75), Mordovian pictures: 60 plays and studies (1974), 18 sonatinas (1980) by Sokolova; "Sketches" (1980), "Forest Tale" (1999) N.V. Kosheleva; "Our Day" (1982) Kuzina; 20 pieces for piano (1989), 4 pieces for piano (1990) N.I. Boyarkin; "Funny Pieces" (1998) G.G. Suraeva-Koroleva. Prod. for children, creation. E.V. Lysenkova Terkhanov, D.V. Buyanov self-made. composer M.I. Volkov for folk. basis, and their original Op. also attract with emotionality, concreteness of images. The first example of a concerto for piano and orchestra was Vdovin's concertino for piano and string orchestra (1967; pr. Komsomol of Mordovia, 1969), in Krom bright youthful moods prevail, and at the heart of muses. language - intonations of muzzles. nar. songs. Concerto for Piano and Symphony. orchestra G.G. Suraeva-Koroleva (1988; pr. Komsomol of Mordovia, 1988) is distinguished by a combination of elements of muzzles. folklore and classical jazz, a variety of piano techniques. F. m. composers of Mordovia is included in the repertoire of the concert. Russian pianists, music teachers. universities, uch-sch, schools of the republic, studies. programs. Texts: Children's plays by composers of Mordovia. - M., 1987; Pedagogical repertoire for pianoforte by Mordovian composers: At 2 o'clock - Saransk, 1989 - 1990; Piano music of composers of Mordovia: At 4 hours - Saransk, 2000 - 2003. Lit .: Olzoeva S.G. Moksherzian piano musician kasoman kinze // Syatko. - 1987. - No. 2.N.M. Sitnikova S.G. Suraeva-Koroleva.
CHORAL MUSIC, music, intended for choral performance. Exists as Nar. (see Mordovian folk vocal music, Mordovian folk polyphony), and prof. Main genres: arrangements of song folklore, choirs and choral songs, cantatas and oratorios, concertos, ballads, choral numbers. In Mordovia, the first products. H. m. are processing and arrangements of snouts. nar. songs of the 1930s and 40s. L.P. Kiryukova, D.M. Small B.M. Troshina S.V. Evseeva M.I. Gracheva G.G. Lobachev. The development of this genre can be traced in the creative process. the implementation of the features of folk song performance and its polyphonic forms in the production. G.I. Suraeva-Koroleva ("Vir chirese" - "On the edge of the forest", 1963; "Alyanyatse veshentyanza" - "Father is looking for you", 1964), G.G. Vdovina (“Nikanoron Rolling” - “Nikanorova Katya”, 1964; “Od Tsyora” - “Young Guy”, 1993), N.I. Boyarkina (“Rauzho morya” - “Black Sea”, 1978; “Yoru-yoru”, 1989) and others. In the 1990s. Arrangements appeared in Russian, Mar., Udm., Fin., Karelian. songs of Vdovin and Boyarkin. Spiritual heritage of the ethnos, features of the national. character and thin. imagery captured in op. “Sura langso” - “On Sura” (1965, lyrics by N. Erkay), choral variations on the theme “Koso, shenzhe, udat-asht” - “Where, duck, you spend the night, you live” (1979) Suraeva-Koroleva, “ Kalyada (1992, nar.) Kosheleva, in a choral fantasy on the theme “Narmonnyat” - “Birds” (1994) Terkhanova and others. Original Op. (choral songs and choirs) were created on the themes of their native land: “Our land, Mordovia” (1965, lyrics by P. Gaini) Suraeva-Koroleva, “Shachema land” - “Native land” (1995, S. Kinyakina) Vdovina, “ She dreamed that she was Russia ”(1999, L. Tatyanicheva) E.V. Kuzina "My Motherland" (1983, lyrics by N. Belik) S.Ya. Terkhanova and others. Citizen. and military-patriotic. The theme is diversified in Op. N.N. Mitina (“The Tale of the Mother”, 1975, lyrics by Y. Smelyakova; “Oh, Russia”, 1996, K. Smorodina), Vdovina (“Obelisk”, 1971, V. Lessig), Terkhanov (“Silence of Silence”, 1996 , E. Sadulina), Kuzina (“With victory, native country”, 2001, lyrics by S. Lugovsky) and others. In the 1980-90s. the choral culture of Mordovia was replenished with samples of sacred music, including “Wai, Jesus” (1983, lyrics by V. Nesterov), “Alyanke min” - “Our Father” (1992, translated by V. Mishanina) N.V. Kosheleva; "Kaigi Val" - " sounding word"(1990, A. Pudina), "Kirvastyan shtatol" - "Light a candle" (1991, A. Arapova) Boyarkin; triptych on spiritual texts (1992) Terkhanov; Psalm 3 (1994) D.V. Buyanova For expanded choral canvases of the 1980-90s. characteristic reflection ostrosots. topics, internal of the world of man: “The Bells” (1988, lyrics by B. Sokolov), “Three Etudes-Paintings” (1989) Vdovin, “The Truth is Dangerous in Russia” (2000, lyrics by Sadulin) Terkhanov and others. .: Kiryukova - “The 30th Anniversary of October” (1948, lyrics by Gaini), “Ode to Pushkin” (1949, Gaini), “Leaks are a holiday anniversary” - “Today is a holiday - anniversary” (1950, I. Krivosheeva), L. AND. Voinova - “Native Land” (1957, Erkay), Suraeva-Koroleva - “The Last Judgment” (fantastic oratorio, 1972, author), Vdovina - “Lenin minek yutkso” - “Lenin among us” (1969, poets of Mordovia), Erzya. Three studies from life ”(1976, L.M. Talalaevsky Kosheleva -“ Mordovian songs ”(1978, people),“ Song of military glory ”(1985, Pudina), Mitin -“ Youth of the country ”(1980, P. Lyubaeva and V. Yushkin), “Wreath of Victory” (1985, Talalaevsky), Kuzina - “Rebellious Song” (1987, Talalaevsky), Terkhanov - “The Soul of the People Keeps” (1990, lyrics by Yu. Popkov) and others. The 20th century saw the emergence of new genres of canvas art: The Ballad of the Corporal and the Maiden of the White Reach (1993, lyrics by T. Kibirova) by Vdovina, concerto for choir and baritone (1995, lyrics by N. Ruzankina) Kuzina. lives are captured in vocal and choreographic samples: “Country Street” (1966, lyrics by Gaini), “Roman Aksyas” - “Romanova Aksinya” (1985, people) Suraeva-Koroleva, “Mordovian Wedding” (1980, script by V. Irchenko) Kosheleva, "Teiteren piya kudo" - "House of girl's beer" (1985, script by V. Bryzhinsky) Vdovina National coloring, bright melody, textural and variational development are inherent in choirs in musical stage productions: music. drama "Litova", operas "Nesmeyan and Lamzur", "Normalnya" by Kiryuko wow, music the drama "Wind from the Ponyzovye" by Vdovin, the opera "Siyazhar" by M.N. Fomin.Kh. m. Composers of Mordovia are performed by the State Chamber Choir, the choir of the State Musical Theater of the Republic of Moldova, the ensembles "Umarina", "Kelu", the choir of Mordov. state un-ta, choirs of Moscow State Pedagogical Institute im. M.E. Evseviev of the Saransk Musical College, Children's Music School, as well as amateurs. groups and ensembles.
Prod. composers of Mordovia are included in the repertoire of well-known groups in Russia, including the Bashkir Academic. chamber choir, Mar., Udm., Chuvash., Magnitogorsk, St. Petersburg academic. choir chapels, Omsk, Ryazan Nar. choirs, choirs Kazan, Nizhny Novgorod, Ural conservatories, det. choirs of Kazan, Moscow, Nizhny Novgorod, Samara. Lit .: Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. Pages of musical history. - Saransk, 2001.
T.I. Odinokova
CHOREOGRAPHIC ART. Includes various forms of dance. plastics, staging ballet performances and dances. H. i. Mordovia has gone through 2 stages in its development. Until ser. 1930s preim. there was a Nar. choreography. In traditional dance movements that have survived to this day, a number of positions of the arms, body, legs, connections have been preserved. with ancient prayers (appeal to the supreme deities, the sun), with labor processes (winding threads, spinning, knotting, weaving, rinsing, embroidery, etc.). A number of dances will express. means reproduces traditional. nat. symbols: bear, horse, duck, drake, lark, birch, blossoming apple tree. The lexicon of the national dance consists of various types of steps, moves, strikes, fractions, percussions, jumps and jumps, various turns and rotations. Mordov. nar. choreography (round dances, dances, pantomimic reproduction of various events and images), timing. to ritual and festive actions, was symbolic. reflection of human life. Childbearing, as well as the growth of cereals and technical. cultures were dedicated to special erotic dances and pantomime. actions of costumed women during the wedding and seeing off the spring (Tundon iltemat - e.). At the festival of the first furrow (Keret ozks - e.) With the help of rhythmic. dance movements depicted the cultivation of the land, the sowing of grain. In connection with the completion of the harvest, skits were played with the participation of various characters. On the days of mass communal prayers (Velen ozks - e.), using pantomime and definition. verbal formulas, the worshipers communicated with the deities, and youth round dances to violin and bagpipe melodies expressed joy on this occasion. Various plastic. funds were used in the conduct of erz. the holiday "Teiteren piya kudo" (see Teiteren piyan kudo), where there were dancing competitions between girls and boys, girls and elderly men; wedding episodes were played out using pantomime (wedding troika, bear dance, seeing off the bride), multi-figure ornaments were composed on the go. compositions using non-milk as characters. sheaves of the new crop. During the pasture of the herd, to the sounds of a shepherd's horn or nudes, dances were performed, exalting. cattle. The winter holiday of youth, held during Christmas time (m. Roshtuvan kud, e. Roshtovan kudo), abounded with energetic. humorous and satirist. dance episodes. Their organizers were the mask of Roshtova Baba (grandmother Christmas) and the Karyats (hari, masks) led by her. In the evening at this time, round dances of lanterns were arranged, symbolizing. "roll call" of the starry sky and the supreme patrons with those living on earth. Pantomime, rhythmic dances were accompanied by special ritual actions, with the help of which they reflected the fight against epidemics (e. staka morozks “prayer from a heavy pestilence”), pests of agricultural. cultures (e. tsirkun ozks “prayer from locusts”), asked to restore the earth’s strength (e. facet ozks “prayer at the boundary”). The choreography occupied a special place in the funeral commemoration. rituals of the Mordovians (pantomimic struggle of an elderly woman with a mask of death, a funeral dance at the grave during the ceremony Wedding kulozen lems (e., “Wedding for the deceased”). Dance-pantomimic scenes (depending on their content and nature) were accompanied by appropriate violinists and bagpipers took part in mass festive events and in some prayers, nudiists were invited to the winter youth games. see Mordovian folk musical instruments), frying pans, basins, stove dampers. Of the many choreographic actions in modern Mordovian folk art (festive or stage) in the past, there are mainly wedding dances and dances performed on various occasions (m "Levzhan kshtima" - "Levzhenskaya dancing", m. "Ilyanaz" - "Lyon", etc.).A new stage in the development of choreography is associated with the process of becoming a national. prof. lawsuit (1930s). Young people who came to the Mordovians. theater. studio (see Mordovian theater studios) from Erz. and moksh. villages and villages of Russia, brought the movements and rhythms of their villages to the dance. From various elements gradually created integral dances. paintings. At the concert dedicated to Extraordinary congress of muzzles. people (1937), nat. group of musical artists theater (G. Vdovin, M. Devyataykina, S. Ryabova, E. Tyagusheva, A. Shargaeva) was first performed by prof. erz. dance "Kenyarks" ("Joy"). The beginning of the systematic studying and recording Nar. choreography is laid by Mordov. choir chapel (1939, director P.P. Yemets; later the ensemble "Umarina"). The team performed the stage. variants of round dances, then plot dances on a wedding theme (composer L.P. Kiryukov) and vocal-choreographic. the composition "Luganyas kelunyas" (m., "In the meadow of a birch"). During Vel. Fatherland During the war, the ensemble, divided into brigades, performed solo and duet dances of the variety plan (dancers V. Argentov, S. Vasilyeva, F. Goryachev, S. Makarov). In the beginning. 1950s in the dance the repertoire of the ensemble (the choreographic group was replenished with dancers from the abolished opera and ballet theater and various groups in Russia) included plot dances (“Come on a visit to your native collective farm”, “Mordovskaya Dancing”), dance. suites with the Kiryukov choir (“Harvest Festival” and “Collective Farm Wedding” - dances of the bride and her girlfriends, the groom and his friends, matchmaker and matchmaker, round dance of guests), etc.
In the 1960s and 70s nat. more serious attention began to be paid to the repertoire of the collective. The works of choreographers D. Bakharev, V. Zhestkov, V. Kuznetsov, E. Tarakhovsky, diverse in plot, bright in mood, revealed the attitudes of the modern. person. The language of choreography has become more dynamic. The dances were full of stunt elements (“Fancy fun”, “Rural pictures”, “Let's dance”, “Funny fun”, “We live near the Volga”, “Erzyanki on a bench”, “Tractor plows”, “Into the forest for berries” ). Most of them were combined into vocal-choreographic. suite "The Four Seasons" (1966). Success enjoyed songs and dances, basics. on the traditions of art-va: “Seeing the Bride” (music by I. Ignatov, lyrics by M. Beban), “Moksha Flows”, “Umarina” - “Apple Tree”, “Feast in the Surye” (V. Beloklokova, lyrics by P. Gaini ), "Levzhenskaya Dancing" (music by Beloklokov, staged by Bakharev). Since 1984, with the arrival of Umarin, art. hands S.V. Balabana nat. dance themes have become more diverse. The study of the ritual and festive culture of the Mordovians and the existence of bunks in it. dance plastics contributed to the creation of numbers that have become plural. years the basis of the program of the ensemble: e. “Tundon Vastoma” - “Meeting of Spring”, “Erzyan Odirvat” - “Erzya Brides” (music by N. Boyarkina, staged by M. Murashko), “Ovto Marto Nalksemat” - “Games with a Bear”, “Guline” - “ Dove", "Seleka" - "Drake", "Vir Tavlan nalkshket" - "Podlesno-Tavlinskie toys", "Kolmo atinet dy veike teyter" - "Three old men and one girl" (music folk, staged by G. Halperin) and others. Ballet dancers performed with the ensemble: N. Vlasova, T. Gradusova, V. Kargina, V. Kiryushkin, N. Lyugzaeva, Makarov, E. Markina, V. Pchelkin, V. Strigulin, M. Sych.
Contribution to the development of muzzles. choreography contributed folk. the Kelu collective (organizer and 1st director G.I. Suraev-Korolev, choreographer V. Uchvatov). Its choreography was made by Ch. arr. dancing with. Levzha, where muzzles are quite fully preserved. (moksh.) ritualism, as well as dance. music and dances performed on various bunks. festivities (“Zerezenkay”, “Nastu” - “Nastena”, “Kelu” - “Birch”, “Ofta atya” - “Old Bear”, “Postupon Mora” - “Song of the Shepherd”, etc.). On their basis, a number of dances were created: “Alyan kshtima” - “Male dance”, “Silence of the Uryadama” - “On the hayfield”, round dance “Kelu”, “Levzhan Stirht” - “Levzhensky girls”, etc.
The development of prof. theater. the choreography of Mordovia was facilitated by the activities of L.I. Kolotnev. His choreography in the first nat. performances of "Litova" (1943) and "Nesmeyan and Lamzur" (1944) Kiryukova, distinguished by mass character and refinement, became an example of creative. transfer of national dance. language in prof. art (national dances “Paksya ozks” - “Feast of the consecration of the field” and “Kishtema” - “Dance”). For the further development of the theater. the choreography influenced the reorganization of the dramas. theater in music and drama. (1958) and the arrival of choreographic graduates here. uch-shch of the country. In the choreography of music. performances, a variety of directions and styles of choreographer's art was manifested. contribution to the theatre. choreography of Mordovia in the 1960s - early. 1990s contributed choreographers: V.V. Chizhov (“Rigoletto” by G. Verdi, 1960; “Eugene Onegin” by P. Tchaikovsky, 1961; “Mermaid” by A. Dargomyzhsky, 1962), V.N. Nikitin (“The Gypsy Baron” by I. Kalman, 1965; “The Bat” by I. Strauss, 1966; “Bride of Thunder” by K. Akimov, 1967), laureates of the international. competition of choreographers A.B. Ivanova and E.S. Osmolovsky (“Silva” by Kalman, 1973; “Polar Star” by V. Basner, 1974; “Miss Ellie Gets Married” by F. Karaev and L. Weinstein, 1974; “Moksha Dawns” by G. Pavlov and Akimov, 1974), E. TO. Dementiev (“Cinderella” by A. Spadavekkia, 1977; “Dangerous Similarity” by G. Tsabadze, 1982; “Russian Nursery Rhymes” by V. Kazenin, 1983; “Cat’s House” by A. Kuleshov, 1985; “Litova” by Kiryukov, 1985; “Free wind "I. Dunaevsky, 1985; "Musical incident in the country" Multi-pulti "", 1986; " The Bremen Town Musicians» G. Gladkov, 1987; "Maritsa" Kalman, 1987), G.N. Rubinskaya (“The Magician” by V. Berenkov, 1980; “Let the Guitar Play” by O. Feltsman, 1980; “Wind from the Lower Sea” by G. Vdovin, 1981), O.P. Egorov (“Women’s Revolt” by E. Ptichkin, 1987; “Donna Lucia” by Feltsman, 1987; “Knight Bluebeard” by J. Offenbach, 1989; “Dorotea” by T. Khrennikov, 1989; “Silver Lake” by N. Kosheleva, 1990; “Ah, carousel, carousel!..” V. Komarova, 1991). At the heart of the choreography of performances on muzzles. the subject lay nar. ornament. dances and dances that existed in ritual and festive events and gave the performances a kind of national. coloring. The most original among them are plot dances: “Bogomazy” and “Meeting of the Master with the heroes of his sculptures” (“Sorcerer”), “In the underwater kingdom of Vedyava” (“Silver Lake”), “Spring Festival” (“Bride of Thunder”), “ Glory to the land-nurse! ("Wind from the Lower"). New trends modern. choreographies were reflected in one-act ballets and miniatures by choreographer L.N. Akinina "Guernica" by A. Morozov (1985), "Francesca da Rimini" to the music. Tchaikovsky (1991), "Bolero" by M. Ravel (1991), "Carmen Suite" by J. Bizet - R. Shchedrin (1992), "The Seagull named Jonathan Levington" by S. Terkhanov (1993), "Walpurgis Night" Gounod (1993), "Mary Stuart" G.F. Handel (1993), Tchaikovsky's The Nutcracker (1994) and others. regarding story dances. During this period, the music theater dancers: N. Razina, Dementiev, A. Burnaev, G. Chubarov, N. Zadumkina, L. Igosheva, O. Gavrilkina, Yu. Murinskaya, Akinina, Yu. Murinsky, V. Ievlev, V. Melekhina, T. Redina , N. Kadantsev, M. Grinina, R. Melnikov. From con. 1990s the theater began staging major ballet performances based on Russian choreography. choreographers M. Petipa, M.M. Fokina and others: "Coppelia" by L. Delibes (1998, choreographer T.M. Lebedev "Giselle" by A. Adam (1999), "Chopiniana" (2000), "Paquita" by L. Minkus (2001) (choreographer O. V. Vasilyeva In 2004, the ballet "Swan Lake" by Tchaikovsky was staged (choreographer V.M. Miklin
In the 1980-90s. in the city of Saransk openly several. det. ballroom schools and modern. dance. Since 1980, an experiment has been working.-choreographic. music theater studio comedies (see Mordovian Republican Children's Choreographic School). With the creation in Mordov. state un-those faculty of nat. culture (1990) Mordovians. dance lawsuit became the subject of scientific. research A detailed study of the foundations of Nar. plastics, poetry, costume, festive and ritual culture, folk. theater contributed to the creation of original in style and content erz. and moksh. dances ("Tashto Naimanon Utyakat" - "Ducks of the Old Naiman", "Murani Mazykat" - "Beauties of Murani", "Teiteren Pokshchi" - "Girl's Holiday", "Teshtede Peshkse Keche" - "Star Ladle", "Perkhlyaen Kshtima" - "Perkhlyayskie peretopy", "Mokshen myantsevkat" - "Mokshanskie vakhlyavitsy" and others; stage director Burnaev). Here, a special training program for muzzle specialists. choreography, published method. development and study. benefits. Lit .: Faculty national culture. 10 years. - Saransk, 2001; Burnaev A.G. Mordovian dance (history, methodology, practice). - Saransk, 2002; He is. The genesis of the ballet art of Mordovia. - Saransk, 2004; Bryzhinsky V.S. Mordovian folk drama. - Saransk, 2003; He is. Xiyan Rise - Silver Chains: Erz. and moksh. folk games and round dances. - Saransk, 2002.
Uhvatkina Alina
The paper reveals the history of the appearance of musical instruments of the Mordovians, their purpose, traces the path of their development. The example of some instruments shows the originality of the culture of the Mordovians, the connection with nature.
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Municipal budgetary educational institution "Kurtashkinskaya secondary school"
Atyuryevsky municipal district of the Republic of Mordovia
Republican educational and practical conference of schoolchildren
"Mordovia through the eyes of children"
Research
Folk musical
Mordovian instruments: past and present.
Section "Primary classes"
Done by a 4th grade student
Uhvatkina Alina
Head of Maskaikin
Tatyana Anatolyevna
2018
I.Introduction…………………………………………………………….page 2.
II.Main part…………………………………………………… page 3-5
2.1. The emergence of musical instruments and their connection with the life and culture of the Mordovians.
2.2. Percussion musical instruments - idiophones……………
2.3. Wind musical instruments - aerophones……………
III.Conclusion………………………………………………………….page 6
Bibliographic list…………………..……………………….page 7
Appendix……………………………………………………………p.8-14
I.Introduction
In the spring of last year, a regional seminar for teachers of Mordovian languages was held at our school. Our class prepared an event dedicated to the arrival of spring. For this event, my class and I made an unusual staff, and our teacher told us that it used to be a musical instrument. It became interesting to me what other musical instruments the Mordovian peoples played in ancient times. What material did they use to make them?
The relevance of research: The study is interesting and relevant for students who want to learn more about the culture of the Mordovian people.
Problem : The students of our school study the Mordovian language, but not everyone knows the Mordovian folk musical instruments, their purpose, the origin of the instruments, their past and present.
Hypothesis : The emergence of Mordovian musical instruments is associated with the culture and life of the Mordovians.
Goal of the work : Learn the history of the emergence of musical instruments, purpose, trace the path of their development.
Tasks: Study historical, educational, reference literature about Mordovian folk musical instruments; organize the information received; on the example of some tools to show the originality of the culture of the Mordovians, the connection with nature.
Subject of study: Mordovian folk musical instruments, their past and present.
Research methodsKeywords: analysis, generalization, classification, comparison.
Structure of the research workKeywords: introduction, main part, conclusion, bibliography, applications.
II. Main part.
2.1. The Mordovian people carefully preserve their musical culture, their songs and tunes, and, of course, folk instruments. After all, our ancestors believed in the magical healing power of sound.(Slide 3)
The traditional musical instruments of the Mordovian people are both the simplest adaptations of objects of the environment and household items, as well as more complex and diverse musical instruments of special manufacture.
Mordovian applied instruments eventually began to become a thing of the past, but national musical instruments take on a new look.
Musical instruments were made from wood, birch bark, plant stems, grass and tree leaves, tree trunks and branches.(Slide 4)
We decided to make some musical instruments ourselves together with dad, and I found some in our school museum.
2.2 . There is a classification of Mordovian folk musical instruments.
The first group is percussion musical instruments (idiophones).(Slide 5)
These include: baydyama, calderfnema, shavoma, shuftonkutsyuft.
The Mokshans of Paygon endowed with magical qualities of a talisman against diseases and evil forces - these are metal bells strung on a cord and hanging on a women's belt. Believing in their magical power, the bells were hung on a staff. According to legend, the staff belonged to one of the revered gods of the Mordovians. Among the Mokshans, this instrument is called Baidyama. It was often used in various rituals.(Slide 6)
And this is a tetrahedral box made of a solid birch bar called calderfnema. A piece of oak knot is attached to the rope, which, when swinging, hits the box. With the help of a mallet, signals were given to gather for lunch for people.(Slide 7)
The shavom tool is a spruce or birch, smoothly planed board. It can be hit with wooden hammers or wooden spoons (kutsyuft) - they also served as an independent tool. Shavom was often used in rituals or during the rite of the first day of cattle pasture, which came after a long winter, and also to scare away predators from livestock, since a special magical power was attributed to it, which was able to scare away evil spirits.(Slide 8)
Rubel - a wooden board with cut-out transverse grooves for rolling linen. The household item was used for knocking out (washing) and ironing clothes. Rubel - roll was also used as a musical instrument. When playing, the rubel is held with one hand by the handle, and the other is driven back and forth along its scars with a wooden spoon or stick.(Slide 9)
2.3 .The second group of musical instruments - wind (aerophones)(Slide 10)
The most common instrument from this group is the nude, which has existed since the middle of the second millennium AD. This is a hollow wooden pipe that existed in every Mordovian family. With the advent of a baby, families made a pipe, with a tongue and one hole in the trunk. With each year of the child's life, a hole appeared on the trunk, and there were 6 of them in total, since at the age of seven the child became a housekeeper.(Slide 11)
In traditional Mordovian poetry, nudes are a symbol of sadness. "There was a custom to play deplorable tunes in the cemetery on the nude." And it was also believed that the sounds of nudes could stop bleeding.
Syura is a trumpet made of bull or cow horn. One side of the thread spool was ground and inserted into the hole of the horn, and on the other side a recess was made for the lips. Shura was used by shepherds as a signaling tool, as well as a ritual one, supposedly capable of driving away evil spirits.(Slide 12)
The ritual musical instrument of the Mordovians was the jew's harp. Mokshans call him tsingoryama. It is a horseshoe-shaped iron plate with a flexible steel tongue in the middle. The sound of this instrument was used in songs and dance tunes. The revered animal of the Mordovians is the horse. On this instrument it is easy to depict the clatter of hooves. The instrument was played mostly dance melodies.
(Slide 13)
At family calendar holidays, tunes were played on a hollow whistle made of baked clay with playing holes “sevonenvyashkoma”. The whistles were most often in the form of a duck, since according to legend, the supreme God of the Mordovians, Shkabavaz, floated on the water on a stone in the shape of a duck. The tool has been known since the beginning of the 1st millennium AD. e.(Slide 14)
Torama is an ancient wind signal instrument. It was made from linden rings inserted into each other in the form of an expanding tube. A birch bark tongue was inserted inside. According to legend, the torama belonged to the first Mordovian king Tyushte. During his reign, peace and prosperity reigned in the Mordovian land. For this, the Mordovians equated him with the gods and endowed him with immortality. Leaving the Mordovian land, Tyushtya left a torama to his people and he bequeathed: "You live, live in friendship, the torama - my pipe, as before, will gather you together."(Slide 15)
Since the middle of the 19th century, the balalaika and harmonica, borrowed from the Russians, have everywhere entered the life of the Mordovians.(Slide 16)
III.Conclusion
Summing up all of the above, I would like to say that Mordovian folk musical instruments first appeared as helpers in the difficult life of the people of the forest and were made from the material that was around them. Subsequently, people began to play them during their holidays or during holidays.
Musical instruments of the Mordovians, as well as songwriting, were created and developed over many centuries in accordance with the conditions of life, life and work. The emergence of tools occurred at various stages of the evolution of the culture of the people and in accordance with the general development of human society and in the relationship of peoples.
In the traditional musical culture of the Mordovians, instrumental music occupied an important place. As an integral part of the spiritual heritage of the people, it was an integral attribute of the life of the Mordovians, including pagan rites and holidays (calendar and family household); instrumental music was given a magical, healing and educational value.
Currently, many Mordovian national instruments are used by folk musicians at song festivals and folklore festivals.
Bibliographic list
1.Mordva. Essays on the history, ethnography and culture of the Mordovian peoples - Saransk, 2004.-992 p.
2. Mordva: historical and cultural essays / Ed. coll.: V. A. Balashov (editor-in-chief), V. S. Bryzhinsky, I. A. Efimov; Lead author team academician N. P. Makarkin. - Saransk: Mordov. book. publishing house, 1995. - S. 463-464.
3. Vertkov K.A. etc. Atlas of musical instruments of the peoples of the USSR. - M., 1963; Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; He is. Folk musical instruments and instrumental music. - Saransk, 1988;
CHARACTERISTICS OF DANCE MELODIES AND MUSICAL INSTRUMENTS OF THE MORDOVIAN PEOPLE
The folk musical art of the Mordovians has evolved over many centuries in close interaction with the culture of neighboring peoples. In folk poetry, a musician and a dancer are depicted as cheerful and cheerful people
The wide popularity of Mordovian musicians and dancers is evidenced by many materials from the folklore of neighboring peoples. In the Russian comic song "Kalinka-Malinka", recorded by AS. Pushkin in 1830, tells how a girl washed a veil on a Boldino raft and asked her mother to bring a Mordvinian with a bagpipe for dancing.
In the traditional Mordovian music and dance art, which has organically grown into the modern life of the people, archaic forms have been preserved, dating back to the general Finno-Ugric musical culture.
The dance creativity of the Mordovian people is characterized by developed collective and single (solo) performing traditions. According to their genre, traditional dances are divided into round dance, wedding, dance, non-ritual and borrowed from Russian or neighboring peoples.
Some types of ritual songs, dances and instrumental dance tunes associated in the past with the ancient animistic cult of sacred trees, revered animals, domestic animals and birds, others have been preserved in new feature non-ritual songs, dances and instrumental tunes.
An important place in the musical art of the Mordovian people is occupied by dance instrumental music.
Traditional types of Mordovian dance instrumental music are closely related to certain types of musical instruments, systematized on the basis of a vibrator (sound source): idiophones, membranophones, chordophones and aerophones
The sound source of instruments of the idiophone class is an elastic solid material. They were mainly used to beat the rhythm of dances in an ensemble with other types of traditional instruments, as well as to create ritual noise as a talisman in many ritual actions.
As idiophones, the Mordovians used all kinds of household items that accompanied the dance; buckets, basins, pans, stove dampers. In addition, the dance was accompanied by other musical instruments belonging to the group of idiots - this is the shawoma - an instrument in an ensemble with others was used to beat out the rhythm of the dances. The sounding body of the "shawoma" was a smoothly planed l a birch board impregnated with resin and hemp oil, 25-30 cm wide. Using a belt, it was hung on the neck or elbow of the performer's left hand. The sound was extracted with special small wooden mallets or wooden spoons. In a number of places, solo and in an ensemble, other musical instruments are used to accompany dances: spoons, a scythe, with the help of which the rhythm of a dance tune was beaten with a nail or bolt, bells of various sizes, which were hung along with coins and ringing metal plates to the traditional women's suit. At ritual wedding dances, the ringing of bells, coins and metal plates formed a kind of polyphony of two opposing dance rhythms, each of which had its own special structure and timbre shade, determined by the sharp sound of ringing jewelry of women dancing in a circle, as well as a rattle. This tool was a smoothly planed cylindrical wooden beam 15-20 cm long, 7-8 cm in diameter, with a handle at one end and teeth cut out along the surface, with a wooden or metal bracket attached to the upper edge of the cylinder and its handle.
In membranophones, the sound source is a stretched membrane made of leather or paper. In the dance and musical life of the Mordovian people, several instruments of this class are used:
a) a comb from a spinning machine or a comb for combing hair, on which thin birch bark or tissue paper was superimposed;
b) a leaf of a tree - a green leaf of birch or linden was applied to the lips, supporting with two fingers. As a single instrument, it is used to imitate bird voices, and in an ensemble with other instruments - to accompany dances or dance tunes.
The sound source of chordophones was one or more strings stretched between two fixed boards and set into vibration by plucking or friction. Such instruments accompanying dances or dance actions include the psaltery, the violin.
The oscillating body in aerophones is a column of air. The Mordovians differed in aerophones with interrupters, longitudinal flutes and flutes with an internal slot, natural pipes without a device for changing the pitch of sounds
Such musical instruments that accompanied the dance performances include:
a) bobbin - a spool of thread, one end of which is closed with a thin layer of birch bark or a piece of tissue paper. When playing, the closed side is applied to the lips, the performer extracts one sound by blowing.
b) an acacia pod, which is half a split acacia pod.
c) a whistle flute made of wicker, 30 to 70 cm long, with a wooden or bone whistle sleeve inserted into one end of the tube. The instrument was distinguished by rich performing possibilities. Dance tunes were performed on it.
d) double clarinet from two reed tubes of the same or different size, from 17 to 20 cm long. In the past, ritual dances and instrumental accompaniments to ritual songs at a wedding, shepherd songs, as well as household dance tunes were performed on such a clarinet.
Bagpipes of two types, differing in the material from which they were made and the number of pipes. They played the bagpipes mainly for dance, ritual and everyday dance tunes.
Starting from the 19th century, in addition to the instruments listed above, accompanying dance and dance actions, harmonicas were widely used - Vyatka, Saratov, Khromka and Russian two-row.
Instrumental dance melodies among the Mordovians are subdivided into melodies, compositionally consisting of two contrasting parts - a slow introduction (ushotks - "beginning") and a fast main part (kshtima - "dance", "dance"), and the melodies are indivisible by the nature of the parts, consisting of one dance or a whole dance action without an introduction.
The rhythm and structure of the dance melodies are square and the meter is usually even - two or four quarters.
