Along the river Karmalka. Summary of the lesson “City of musical instruments” for the project “In the country of musical instruments of Mordovia Genre classification of Erzya folk songs
Methodological 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 it 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-toned, wedding wishes (m. svahan 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 recitation-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. It preserved the most ancient melodies. 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. The most developed among the Mordovians was the ritual instrument. music, in which there are 2 basic. class of tunes: non-program and software. 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 bar (for which the performer made circular movements above his head), the plate jumped from one tooth to another, while emitting strong clicks, turning into crackling at a fast pace. 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. 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. the style of funeral and wedding lamentations and lullabies that have survived to this day many. 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 the calendar and family-ritual Erzya-Mordovian folk songs // Music in rituals and labor activity of the Finno-Ugric 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. 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 (ritual, 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 a 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. voices and piano by I. Sokolova (1958), “Songs of the Native Land” in 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 of 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 appeared 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. Over the 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 symphonic instruments. 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, miniatures, as well as cycles of plays, were written for the 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, in 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 rock show-O. G. G. Suraev-Korolev “What is happiness?” (1990, libretto by L. M. Talalaevsky) In the genre of operetta, the works of G. V. Pavlov (“Moksha Dawns”, 1974) ), Vdovina (The Leading Role, 1978), V.P. Berenkov (The Enchanter, 1980). On the stage of the State Musical Theater of the Republic of Moldova, musical fairy tales by N.V. Kosheleva “Silver Lake” (1989), E. V. Kuzina "Once upon a time there was a Bunny" (1997). Lit .: Druskin M. Questions of the musical dramaturgy of opera. - L., 1952; Bassargin B. A., Peshonova V. L. Essays on the history of the Mordovian Soviet theater. - 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). The first performance took place in 1974 (choir and symphony orchestra of the Saransk Musical College, conductor N.I. Boyarkin, choirmaster A.Ya. Levina, 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 mixed choir, reader, soloists and symphony orchestra at 5 o'clock by N.V. Kosheleva (text by A.I. Pudin, 1985 ) reflects a protest against war and violence. Song-epic musical means of expression are associated with traditional genres of Mordovian folklore. Separate parts of O. are often performed in concerts. Completely performed in 1989 (choirs of the Saransk Musical School and Rep. children of the 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, 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; The school years are wonderful. - 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. For decades, a wide range of images and musical expressions have been captured. 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 the world of man: "The Bells" (1988, lyrics. B. Sokolova), “Three etudes-pictures” (1989) Vdovin, “Truth is dangerous in Russia” (2000, lyrics by Sadulin) Terkhanova and others. 1948, lyrics by Gaini), “Ode to Pushkin” (1949, Gaini), “Leaks of the anniversary holiday” - “Today is a holiday - anniversary” (1950, I. Krivosheeva), L.I. 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. the drama "Litova", the operas "Nesmeyan and Lamzur", "Normalnya" by Kiryukov, 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 of the Kazan, Nizhny Novgorod, Ural conservatories, children. 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. stack of frost “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. 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 composed 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" by I. Dunayevsky, 1985; "A musical incident in the country" Multi-pulti "", 1986; "The Bremen Town Musicians" by G. Gladkov, 1987; "Maritsa" by 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 of 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.
named after N.P. Ogaryova
Faculty of National Culture
Department of Folk Music
Course work
Mordovian folk musical culture: genres, originality and way of life
Kutaeva E.O.
Saransk 2008
1. Settlement of Mordvy-Erzi and Mordvy-Moksha on the territory of the Republic of Moldova
2. Genre classification of Mordovian folk songs
3. The originality of Erzya and Moksha songs
4 Existence of Russian song in Mordovian villages
Conclusion
Literature
Applications
Introduction
The oldest references to the Mokshans and Erzyans date back to the era of Herodotus, who mentions them under the names of Androphages and Tissagets, describing their role in the Scytho-Persian war in 512 BC. e ... Later, the Mokshans play a role in the history of the Khazar Khaganate, the principalities of Vladimir-Suzdal and Ryazan, and the Erzyans in the history of the Volga Bulgaria and Nizhny Novgorod. According to the studies of Finnologists based on the study of the language, the Moksha and Erzya once experienced the cultural influence of the Sarmatians, Khanty, Huns, Germans, Lithuanians, Hungarians, Khazars, and later Tatars and Slavs, who neighbored them at different times. According to archaeological data, the Mokshans inhabited during their ancient history the lands in the upper reaches of the Don River to Moksha and Khopra, and the Erzyans - the Volga and Oka basins; further to the east, they settled already at a later time, mainly retreating before the Russians. The Russians began clashes with the Erzya in 1103, when the chronicle included the news of the attack of the Murom prince Yaroslav Svyatoslavich on the Erzya: "... Yaroslav fought with Mordva in the month of March on the 4th day and Yaroslav was defeated." In the XIII century, the Russians began to overcome the "Purgas Mordovians" (Erzya), especially after the founding of Nizhny Novgorod.
By 1226, the campaigns of Russian princes against the Burtases, the union of the Alans and Moksha belong. In 1226-1232, Yuri Vsevolodovich conducted a number of successful campaigns in the lands of the Burtases. The Tatar invasion significantly weakened the Erzya lands and subordinated them to the Tatar murzas, the Moksha kingdom became a vassal of the Mongols, and most of the male population as part of the Puresh army died during the Mongols' campaign in Central Europe. In 1237, the Erzya land was completely devastated by Batu.
In 1377, the Erzyans, under the command of the Horde prince Arapsha, defeated the Nizhny Novgorod people and the troops of Moscow Prince Dmitry Ivanovich on the Pyan River. This pogrom did not stop Russian colonization, and the subjugation of the Erzya to the Nizhny Novgorod, Ryazan and Moscow princes proceeded gradually from the end of the 14th century.
The Temnikov prince Enikeev, with the Mokshans and Meshchera subject to him, took part in the campaign of Grozny against Kazan. After Ivan IV's campaigns against Kazan in the 1540s, the Moksha and later Erzya noble families swore allegiance to the Moscow prince. After the conquest of Kazan, part of the Erzya lands was distributed to the boyars; the rest temporarily became part of the royal Mordovian estates, but then were distributed to monasteries and landowners, mainly with the aim of converting the local population to Christianity. Next to the Russian landowners, Meshchera and Moksha noble families owned the lands, who converted to Christianity and retained their title (for example, the princes Bayushev, Razgildeev, Enikeev, Mordvinov and many others). Subordination to Moscow was expressed primarily in the seizure of lands and the imposition of heavy requisitions on the local non-Russian population, which, apparently, was the reason for the participation of Moksha and Erzya in many riots and uprisings (starting from the era of the first impostor and up to Pugachev), as well as fleeing to the East. Erzyans took an active part in the uprising of Stenka Razin, and later, both Mokshans and Erzyans, in the uprising of Emelyan Pugachev.
Already in the first half of the XVII century. Moksha and Erzya moved across the Volga, and in the XVIII century. widely settled in the Samara, Ufa and Orenburg provinces. Those who remained in their former places were more and more subjected to Russification, mainly due to forced mass baptism (especially in the first half of the 18th century). The new converts did not understand the new religion, and the more zealous pagans tore off their crosses and destroyed icons; then troops were sent against them and the guilty were punished and even sentenced for sacrilege to be burned. Attempts to resurrect the "old faith", although in a different form, already imbued with Christian concepts, were repeated among the Erzya at the beginning of the 19th century. ("Kuzma Alekseev"). Nevertheless, the Mokshans and Erzyans were more and more exposed to Russification, but beyond the Volga, on new soil, this Russification proceeded more slowly than on the indigenous lands of the Mordovians; among the Erzya, schismatic sects of the “People of God”, “Interlocutors”, “Molokan”, etc. are developed. Russification also made great progress in the indigenous region of the Moksha; many villages have lost their former names and cannot be distinguished from Russian ones. Moksha retains its characteristics more steadfastly in the north of the Penza province, in Krasnoslobodsky, Narovchatsky and Insarsky; but here, too, groups of their villages, surrounded by Russians, are increasingly subject to Russian influence, which is facilitated by the improvement of communication routes, the destruction of forests, and seasonal trades.
By the beginning of the 20th century, the total number of Mokshans and Erzyans numbered more than 1 million people and they lived in the provinces of Ryazan, Voronezh, Tambov, Penza, Nizhny Novgorod, Simbirsk, Kazan, Samara, Saratov, Ufa, Orenburg, Tomsk, Akmola, Yenisei and Turgai. In 1917, their number was estimated at 1200 thousand people, according to the 1926 census, 237 thousand Mokshans and 297 thousand Erzyans lived on the territory of the Penza, Nizhny Novgorod and Ulyanovsk provinces, which later became part of the Mordovian autonomy, in total in the Volga region and in the Urals, 391 thousand Moksha, Erzya - 795 thousand, in the Barnaul district 1.4 thousand Moksha and 1.4 thousand Erzya, as well as 5.2 thousand Russified Moksha and Erzya were called the ethnonym "Mordva".
The number of the Mordovian population (Mokshan and Erzya) by regions of the RSFSR in 1926.
In 1937, the total number of Mokshans and Erzyans was 1249 thousand, in 1939 - 1456 thousand, in 1959 - 1285 thousand, in 1979 - 1191.7 thousand people. According to the microcensus of 1989, the number of Moksha and Erzya in the USSR was 1153.9 thousand people. (most Moksha and Erzya lived in the Soviet Union), of which 1072.9 thousand people lived in the Russian Federation, including 313.4 thousand people living in the Mordovian ASSR, which accounted for 32.5% of the population of the republic. According to Ethnologue data for 2000, the number of Mokshans was 296.9 thousand people, the number of Erzyans was 517.5 thousand people. The data of the Russian population census of 2002 give the total number of Mokshans and Erzyans living in Russia, which amounted to 843.4 thousand people, including 283.9 thousand people in Mordovia. (32% of the population of the republic).
Considering these data, I would like to believe that the people of Erzya and Moksha, opposing Russification and the change of the Republic, city or country, would always remember their history, and never disappeared at all; so that any Erzya or Moksha resident, answering the question - what nationality is he - without shame and regret, tell the truth!
In my term paper, I talk about the settlement of Mordvy-Erzi and Mordvy-Moksha on the territory of the Republic of Mordovia, as well as the classification of musical genres and the existence of Russian songs in rural villages.
1. Settlement of Mordvy-Erzi and Mordvy-Moksha on the territory of the Republic of Moldova
The Republic of Mordovia is located in the center of the European part of Russia in the Volga River basin, at the crossroads of the most important routes from the Center to the Urals, Siberia, the Volga region, Kazakhstan and Central Asia (see map No. 1). The territory of the republic is 26.2 thousand square meters. km. The length from west to east is about 280 km (from 42 ° 12 "to 46 ° 43" east longitude) from north to south from 55 to 140 km (from 53 ° 40 "to 55 ° 15" north latitude). It borders in the north with Nizhny Novgorod, in the east - with Ulyanovsk, in the south - with Penza, in the west - with Ryazan regions and in the northeast - with Chuvashia (see diagram No. 2).
The republic is divided into 22 administrative regions. There are seven cities on its territory: Saransk, Ruzaevka, Kovylkino - republican subordination, Ardatov, Insar, Krasnoslobodsk, Temnikov - district. The capital of the republic is the city of Saransk (317 thousand people), located 600 km from Moscow. The settlement system in Mordovia initially had a dispersed character due to the landscape and historical features of the territory. This is due to the inclusion of Russians and Tatars in the traditional settlement area of the Mordovians (Erzi and Moksha), as well as the active participation of the Mordovians in the economic development of the territory of Russia. The modern spatial frame of settlement is characterized by polarization. More than 45% of the population is concentrated in a 30-kilometer zone around the administrative capital of Mordovia - Saransk. The bulk of the urban population is concentrated along the railway from Pichkryaev to the west to Ardatov to the east.
Well, now I would like to take a closer look at each of the regions separately:
1. Ardatovsky district
It was formed on July 16, 1928. The area is 1192.5 km2. Population 30.7 thousand people (2005). Center - Ardatov. There are 28 village administrations. It is located in the northeast of the Republic of Moldova. In its northern and southern regions there are landscapes of forest-steppes, in the center - mixed forests. The main population is Erzya.
2. Atyuryevsky district
Formed on May 10, 1937. Area 827.1 km2. Population 11.7 thousand people (2005). Center - with. Atyurievo. As part of 13 rural administrations. Located in the west of the Republic of Moldova. Forest-steppes are common in its eastern part, landscapes of mixed forests are common in its western part. The main population is Moksha.
3. Atyashevsky district
It was formed on July 16, 1928. The area is 1095.8 km2. Population 21.8 thousand people. (2005). The center is the urban-type settlement of Atyashevo. It consists of 21 rural administrations. It is located in the east of the Republic of Moldova in the forest-steppe landscapes of the northwestern part of the Volga Upland. The main population is Erzya.
4. Bolshebereznikovsky district
It was formed on January 26, 1935. The area is 957.7 km2. Population 15.2 thousand people (2005). Center - with. Big Berezniki. It consists of 16 rural administrations. Located in the south-east of the Republic of Moldova in the forest-steppe landscapes of the Volga Upland. The main population is Erzya and Russians.
5. Bolsheignatovsky district
It was formed on January 10, 1930. The area is 834.2 km2. Population 9219 (2005). Center - with. Big Ignatovo. As part of 13 rural administrations. It is located in the north-east of the Republic of Moldova in forest-steppe landscapes. The main population is Erzya.
6. Dubensky district
It was formed on July 16, 1928. The area is 896.9 km2. Population 15661 people. (2005). Center - with. Oaks. It consists of 16 rural administrations. Located in the east of the Republic of Moldova. The relief is erosion-denudation, in the south and south-east - the valley of the Sura River. The main population is Erzya.
7. Elnikovsky district
It was formed on January 25, 1935. The area is 1056 km2. Population 12.9 thousand people. (2005). Center - with. Elniki. It consists of 16 rural administrations. It is located in the north of the Republic of Moldova in landscapes of mixed forests, in the southwestern part - the valley of the Moksha River. The main population is Russian.
8. Zubovo-Polyansky district
It was formed on July 16, 1928. The area is 2709.43 km2. Population 64.2 thousand people. (2005). The center is the working settlement of Zubova Polyana. As part of 27 rural administrations. Located in the southwest of the Republic of Moldova. Landscapes of mixed forests of water-glacial plains predominate. The main population is Moksha.
9. Insari district.
Formed on July 16, 1928. Area 968.6 km2. Population 15.2 thousand people (2005). The share of the urban population is 56.7%. Center - Insar. As part of 15 rural administrations. Located in the south of the Republic of Moldova. Most of it is located in the forest-steppe landscapes of the Volga Upland. The main population is Moksha and Russians.
10. Ichalkovsky district.
Formed on January 10, 1930. Area 1265.8 km2. Population 22.2 thousand people. (2005). Center - with. Keml. It consists of 21 rural administrations. It is located in the north-west of the Republic of Moldova, mainly in forest-steppe landscapes. The main population is Russian.
11. Kadoshkinsky district.
Formed in 1935. Abolished in 1963, restored in 1991. Area 0.6 thousand km2. Population 9 thousand people. (2005). The center is the urban-type settlement of Kadoshkino. It consists of 1 settlement and 11 rural administrations. Located in the center of the Republic of Moldova, in the northern forest-steppe of the Volga Upland. The main population is Moksha and Russians.
12. Kovylkinsky ration.
Formed on July 16, 1928. Since 2000 - MO. Area 2012.8 km2. Population 24.4 thousand people. (2005). Center - Kovylkino. It consists of 1 city and 36 rural administrations. Located in the south of the Republic of Moldova. The western part is located in the forest-steppe, the eastern - forest landscapes. The main population is Russian.
13. Kochkurovsky district.
It was formed on July 16, 1928. The area is 816.5 km2. Population 11.4 thousand people (2005). Center - with. Kochkurovo. As part of 13 rural administrations. It is located in the southeast of the Republic of Moldova. Forest-steppe landscapes predominate, in the southeast - the Sura valley. The main population is Erzya.
14. Krasnoslobodsky district
It was formed on July 16, 1928. The area is 1.4 thousand km2. Population 28.1 thousand people (2005). Center - Krasnoslobodsk. It consists of 22 rural administrations. Located in the northwest of the Republic of Moldova. In its western part there are forest-steppe, eastern - forest landscapes. The main population is Russian.
15. Lyambirsky district
Formed on July 20, 1933. Area 880.1 km2. Population 33.5 thousand people. (2005). Center - with. Lambir. It consists of 16 rural administrations. Located in the center of the Republic of Moldova, in the forest-steppe landscapes. The main population is Tatars.
16. Ruzaevsky district
Formed on July 16, 1928. Since 2000 - MO. The area is 1.1 thousand km2. Population 67.8 thousand people. (2005). Center - Ruzaevka. As part of 21 rural administrations. Located in the center of the Republic of Moldova, in the forest-steppe landscapes. The main population is Russian.
17. Romodanovsky district
It was formed on April 16, 1928. The area is 820.8 km2. Population 21.6 thousand people (2005). The center is the urban-type settlement of Romodanovo. It consists of 17 rural administrations. Located in the central part of the Republic of Moldova in forest-steppe landscapes. The main population is Erzya and Russians.
18. Staroshaigovsky district
It was formed on July 16, 1928. The area is 1419.4 km2. Population 15.1 thousand people (2005). Center - with. Old Shaigovo. As part of 27 rural administrations. Located in the west of the Republic of Moldova. In its eastern part, forest-steppe prevails, and in the western part - landscapes of mixed forests. The main population is Moksha.
19. Temnikovsky district
It was formed on July 16, 1928. The area is 1.9 thousand km2. Population 19.8 thousand people. (2005). Center - Temnikov. It consists of 23 rural administrations. It is located in the northwest of the Republic of Moldova. In its northern part - landscapes of mixed forests, in the southern part - forest-steppe. The main population is Russians and Moksha.
20. Tengushevsky district
It was formed on July 16, 1928. The area is 845.2 km2. Population 13.7 thousand people. (2005). Center - with. Tengushevo. As part of 15 rural administrations. It is located in the northwest of the Republic of Moldova. In its northern and southern parts there are landscapes of mixed forests, in the central part - the Moksha valley. The main population is Erzya and Russians.
21. Torbeevsky district
It was formed on July 16, 1928. The area is 1129 km2. Population 22.6 thousand people. (2005). The center is the urban-type settlement of Torbeevo. It consists of 19 rural and 1 settlement administrations. Located in the southwest of the Republic of Moldova in the forest-steppe landscapes. The main population is Russian.
22. Chamzinsky district
It was formed on July 16, 1928. The area is 1009.5 km2. Population 33.3 thousand people. (2005). The center is the urban-type settlement of Chamzinka. It consists of 2 settlement and 13 rural administrations. Located in the southeast of the Republic of Moldova in the forest-steppe landscapes. The main population is Russian and Erzya.
2. Genre classification of Erzya folk songs
Musical culture is an integral part of every people who have distinctive features that are characteristic only of their language group, related to a particular habitat, whether they are Karelians, Finns, Estonians, Udmurts, Maris, Tatars, Chuvashs, etc. Mordva - Erzya and Mordva - Moksha is no exception. Located on the banks of the rivers Moksha, Insara and Sura, Mordovia is rich in many rituals and customs, overflowing with an abundance of national instrumental music. As in all other cultures, Mordovian-Erzi songs are divided into genres. Boyarkin N.I. dealt with this issue in Mordovia. In his collection “Monuments of the Mordovian Native Musical Art”, Volume 3, he presents to our attention such a genre classification of Erzya songs:
1. Sokitsyan-vidityan morot (songs of plowmen and sowers - calendar songs)
Kolyadan morot (carols)
Mastyan Morot (Shrovetide)
Tundon morot (spring songs)
Pizemen seeremat (rain cries)
2. Semiyaso eryamo moro da avarkshnemat (songs of family life and laments)
Wedding morot (wedding songs)
Kuloz lomande laishemat (lamentation for the dead)
Svadban leishemat (wedding laments)
Recrutto avarkshnemat (cry for recruits)
3. Liyatne Morot (other songs)
Lavsen Morot (lullaby songs)
Tyakan nalksemat morot (children's play songs)
Kuzhon Morot (circular songs)
Kill Morot (long songs)
And now I would like to go through all these genres separately. In the second section, everything is very clearly formulated, and it is quite possible to agree with this interpretation. But in the first section, I think that there are not enough songs of the Christmas house and songs of the harvest, they should be placed in the genre table as separate items, because these songs are not isolated and are also of great interest to folklorists. As for the third point, there are many controversial issues here. First, what are the other songs? Doesn't this group deserve a more accurate name? Well, at least for example, not dated, as in Russian folklore. Secondly, this group is too small and does not give a complete picture of all the "other" songs. Erzi has a lot of songs that tell about the difficult female lot (about marrying a baby, about the difficult burden that fell on the shoulders of the daughter-in-law, etc.), about historical events (about the structure of the city of Kazan, about Stepan Razin, etc. .).
Thus, I would like to slightly expand this genre table for a more accurate idea of all types of songs that exist on the territory of the Republic of Moldova.
Now I would like to take a deeper look at one of the subgroups of calendar songs - spring songs. I chose it because here I also have controversial issues.
Among the spring songs, Professor of Moscow State University. N. P. Ogareva Nikolai Ivanovich Boyarkin, distinguishes: Mastyan morot, Tundon redyamat morot and Pozyarat.
Mastyan Morot (Shrovetide songs) - usually sung by children. They are similar to the tunes of tyakan nalksema morot (children's play songs). They were performed by groups in the tradition of heterophony, close to monody.
Example #1
With. Old Vechkanovo Isaklinsky District
Kuibyshev region
1. Give give give give pachalkse Give give give damn
Give pachalksen pelkske Give me a piece of pancake!
2. Chikor - lakor ezem chire Chikor - lakor end of the shop
Chikor - ezem bruce Chikor - bar shop!
Example #2
With. Stary Baitermish, Klyavlinsky district
Kuibyshev region
1. Suit chi, paro chi! Shrovetide day, good day!
Saik saik yakshamont! Take it, take it cold!
2. Saik saik yakshamont! Take it, take it cold!
Panic panic yakshamont! Drive away, drive away the cold!
3. Wai coat is good, Wai coat is worn out,
Wai hat kalads, Wai hat is worn out,
Wai Varginem Kalads, Wai mittens are worn out,
Wai kamnin kalads! Wai felt boots worn out!
In these examples, we see that these are either shouting or tongue-twisting songs. A poetic stanza usually consists of 2x six - seven-syllable stanzas and is intoned in the ambitus of a second, a third, and less often a quart. In a melostrophe of a 2-part form, the parts are either contrasting (AB - example No. 1), or built according to a typical formula (AA1A2A3 ... - example No. 2). The plot of these songs is usually simple. The songs ask for: pancakes, which symbolize the sun, or for Shrovetide to take the cold with it. Since Shrovetide songs are very similar to children's play songs, they sometimes use words that are not related to each other and words that do not make sense. (example No. 1 verse 2. Chikor - Lakor can be compared with the Russian expression tritatushki tritata, and the words - the end of the shop, the shop, the bar, are its complement). Thus, a meaningless set of words is obtained.
The next group of songs is Moro Tundon redyamat (song of spring signs). In terms of melody, these songs are more diverse than Mastyan Morot, and they were already sung by the older generation in two, three, or even several voices.
This is a more measured song, sung at a moderate tempo in Dorian h-moll. It contains jumps on uv4, ch5. The upper voice here conceives and is the leader, and the lower one performs a supporting function, although it also does not always stand still. The range of the song is not great: within the limits of a major sixth. The architecture is unbalanced. There are also characteristic unisons in the middle and at the end of the song. Basically, the songs will take the spring have a question-answer form.
And finally, the last subgroup of songs, which is still performed to this day and causes some controversy among folklorists - pozyarki or pozyarami.
In my opinion, it would be wrong to call this group that way (classification by N.I. Boyarkin). He gives his name by a frequently repeated meaningless word, despite the fact that there are songs with the same word related to another season.
Here are some of them:
A pozjara pozya
With. Staraya Yaksarka, Shemysheysky District, Penza Region .
And pozyar pozyar! And pozyar pozyar!
For the threshing floor wheat! For the threshing floor wheat!
Who's walking along the edge? - Who reaps it?
Linda is walking along the edge. - Lida is reaping it.
Who is following her? - Who is behind her?
Peter follows her. Peter is behind her.
And pozyar pozyar!
For the threshing floor wheat!
Who knits sheaves?
Lida knits sheaves.
Who is stacking the sheaves?
Peter stacks the sheaves.
A pozjara pozya
Kameshkirsky district
And pozyara pozyara pozyara
Behind the threshing floor wheat, wheat.
Who reaps her, her?
Avdotya reaps her, her.
Who walks along the edge, along the edge?
Peter walks along the edge, along the edge.
Oh Avdotyushka, God help me, God help me.
Oh dear, thank you, thank you.
If you want to take "me", then take it, take it.
If you want to leave, then leave, leave!
These two songs clearly refer to the harvest period, and are in no way spring songs, although they are called pozyarki. Therefore, to be more accurate in the title, these songs should be called Tundon Pozyarat ( Spring Pozarks).
Now, again referring to the works of N.I. Boyarkin, we can find that pozyarki stand out to him as reprimand songs. We can meet the same definition in L.B. Boyarkina: calling them scorching, we thereby emphasize their ancient function, thematic circle, confinement to the season - this is the whole explanation and no further evidence follows.
Having examined the texts of the pozyarok, we will see that their plot clearly does not belong to the group of slanderous songs, but, on the contrary, sings of a spring day (the red sun, warming the earth and awakening all living things, is shown in the form of an egg yolk; the singing of a nightingale, which is the constant herald of spring and etc.).
Speaking about the musical analysis of these songs, it can be seen that they are very similar to Tundon redyamat morot (songs will take spring) in the interval composition and relationships that arise within the work. Pozyarki are musically built according to a typical formula with minor improvisational changes. Their distinguishing feature from all other songs lies in the fact that at the beginning of each stanza the same meaningless word-pozyara is repeated, and unisons do not always appear at the end, which is not typical for Erzya musical folk art.
And concluding, I would like to say that when considering the genre table of different peoples, you should not blindly believe everything that is made in them. You should get acquainted with the works characteristic of the people under study, and only after that look at the genre classification, which is presented to the public.
3. The originality of Erzya and Moksha songs
Many books and scientific articles have been written about the differences between Mordovian-Erzi and Mordovian-Moksha. Unfortunately, Erzya and Moksha songs are not mentioned anywhere among the differences. If the song is sung in Moksha, then it is Moksha, if the song is sung in Erzya, then it is Erzya. In books, the most that can be found are the main signs Mordovian song in general, without specifying nationality. A lot of scientific articles are devoted to the analysis of differences Mordovian song and Russian Mordovian song and Tatar Mordovian song and Udmurt, etc.
Really, besides the differences in language, in costume, in rituals, in the customs of the Erzya and Moksha, there are no specifically different features in the songs?
Consider two spring songs at once: the first is Moksha, the second is Erzya. In the Moksha song, there is mainly a sharp sound due to parallel seconds, on which the work is deliberately built. In the Erzya song, everything is again much simpler: although there are second ratios here, they are listened to very melodicly throughout the song, not standing out from the general mass of sound.
I can continue to give examples of Erzya and Moksha songs, but it seems that I am already ready to answer the question asked earlier. I have considered all the works included in the collection of Mordovian songs by Suraev-Korolev, and what happens? It turns out that Erzya songs are much simpler in sound than Moksha ones. Their texture is more transparent and without sharp harmonies. While the Mokshans are admiring the unexpected chords and the density of sound, the Erzyans at this time enjoy the stretching of empty intervals and free texture. And now I can say for sure that it is still possible to distinguish an Erzya song from a Moksha song by ear, without listening to the words and not knowing the genre.
4. Existence of Russian song in Mordovian villages
Until recently, the Russian folklore of Mordovia attracted the attention of scientists mainly in connection with the study of Russian-Mordovian folklore relations, which have been the subject of consideration since the 19th century. A.V. devoted a special work to the analysis of Russian-Mordovian relations in history and in the field of folk poetry. Markov. He noted that there is much in common in Russian and Mordovian folklore, but he explained the emergence of this commonality either only by the influence of Russian folklore on Mordovian, or Mordovian on Russian, while commonality and similarity can also be due to historical and genetic factors.
The coexistence of national and Russian songs in the oral repertoire of the Mordovian people is perceived as a common phenomenon. The Russian song is often performed after the Mordovian one and vice versa. We can say that those and other songs in a number of villages are recognized as their own - national, and the performers do not divide them into Mordovian and Russian. For example, the grandmothers who sang songs to me often assured me that the song they performed was Mordovian, when in fact it was Russian. The frequent performance of Russian songs has developed a habit among Mordovian performers to feel them as their own, especially since, having been with the Mordovians for a long time, samples of Russian folklore often changed in form and language, acquired Erzya and Moksha words and even whole expressions.
We can continue to talk about the fact that more and more Mordovian songs are Russian, because after reviewing a huge amount of material on this topic, it turned out that many folklorists of Mordovia were dealing with this issue: L.B. Boyarkina, S.G. Mordasova, T.I. Volostnov, etc., not to mention the Russians.
All of them in their writings write about the positive aspects and qualities of borrowing Russian songs from the Mordovians. I look at it somewhat less optimistically and enthusiastically.
Our ancient Mordovian culture is losing its "I" under the onslaught of Russian folk art.
Starting to consider the question of the existence of the Russian song in the villages, I do not want to repeat myself after other researchers of folklore, because even without me too much has been written about this, I just want to say about the tragedy that will certainly follow all this:
We - Mordvins - Moksha and Mordvins - Erzya, being part of the Finno-Ugric people, are at risk of extinction of the national consciousness. Soon, not a single Mordovian song will remain in the repertoire of our village grandmothers - hence the extinction of the native language and the disappearance of Mordovian identity will follow.
If in our time it is difficult for grandmothers to remember Mordovian songs, then what will happen in the future ...
Conclusion
At present, the enormous role of folk music in the art of each country has long been recognized. Folk creativity found its most vivid and complete expression not in purely instrumental music, but in the combination of melody with the word - in the song. The song, originating in the most primitive form many millennia ago, has steadily developed and evolved in close connection with the development of the culture of the people themselves, their way of life, language, thinking, which are reflected in the lyrics and in the tunes. Collection of folk songs, the main result of the thousand-year history of most peoples.
Let's carefully protect our heritage and take care of its survival. Preserve the treasures of folk musical culture, make them available to the broad masses of the people, professional and amateur performing groups, provide additional material for the work of composers, as well as for students and students of special educational institutions.
I hope that this work will make you think and analyze the whole situation that arose at the turn of the 2nd century and continues to this day.
Literature
1. Ananicheva, T.M. Russian-Mordovian connections in ritual folklore / T.M. Ananichev // Typology and interrelationships of the folklore of the peoples of the USSR. -M., 1980. - S. 282-298
2. Boyarkina, L.B. Calendar and circular songs of the Erzya settlers of the Middle Trans-Volga region (genres, functions, musical and stylistic features). - In the book: Folklore and folklorism. / Comp. NOT. Bulychev. - Saransk: publishing house of Mordov. un-ta, 2003. - S. 79-103.
3. Bulycheva, N.E. Folklore and folklorism of the period of formation of professional traditions (on the material of Mordovian music). / NOT. Bulychev. - Saransk: publishing house of Mordov. un-ta, 2003. - 240p.
4. Volostnova, T.I. Russian folklore in the multicultural space of Mordovia: author. diss. for the competition scientist degree cand. ist. Sciences / T.I. Volostnov. -Saransk, 2006. - 18s.
5. Everything about Mordovia. - Saransk: Mordov. book. publishing house, 1997. S. 264-268.
6. Markov, A.V. Relations between Russians and Mordovians in history and in the field of folk poetry: in connection with the question of the origin of the Great Russian tribe. / A.V. Markov. - Izv. Tiflis. higher female courses. - 1914. - Issue. 1. - Prince. 1. - S. 40-43.
7. Mordasova S.G. Traditional culture of Russians in the Republic of Mordovia and their life support system: author. thesis ... Ph.D. / S.G. Mordasova. - Saransk, 2004.
8. Mordovia, encyclopedia in 2 volumes. T. 2. Saransk: Mordov. book. publishing house, 2004. 564. p.
9. Mordovian folk songs. - M .: State. music publishing house, 1957. 164p.
10. Monuments of Mordovian folk musical art. T. 3. - Saransk: Mordov. book. publishing house, 1988. 337. p.
Application
1. Location map of the Republic of Mordovia
2. The layout of the regions bordering the Republic of Mordovia
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: To 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, 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;
VII All-Russian scientific and practical pedagogical conference with international participation
Ethnocultural Education: Experience and Prospects
Section 10
Development of the ethno-cultural direction in teaching the subjects of the educational field "Art", upbringing and additional education of children and adolescents
Alekseeva L.A,
music teacher "Lyceum No. 43", Saransk
Mordovian folk musical instruments - monuments of the traditional musical culture of the ethnos
The concept of "musical instrument" in ethnic culture is interpreted quite broadly. In different situations, these can be scallops with paper stretched between the teeth, and a leaf of a tree, and an acacia pod, and an ordinary sewing bobbin, a household saw, and spoons. Among the traditional musical instruments of the Mordovians, mentioned in ethnographic materials and song texts, the most common beater (shavoma–M., chavoma - E.), wooden xylophone (kalkhtsiamat - M, caltseyamat-E), bells (paygonyat - M, bayaginet - E), jew's harp - M, E, violin (garze, arrow - M, kaiga - E), flutes (vyashkoma - M, veshkema - E); bagpipes (fam, ufam - M, puvama - E), trumpet (dorama, torama - M). Borrowed instruments, such as the harmonica, are also sometimes mentioned.
Musical instruments in the traditional culture of the Mordovians had an important symbolic meaning, acting as an indicator of social status, material level, emotional state, etc. The symbol of power -torama (dorama) in Mordovian folklore in epic poetry is identified with the voice of the legendary king and warrior Tyushti. At the moment when Tyushta resigns from his functions as a leader, he first of all removes himself from the drama, which is one of his military armor. The symbol of beauty, youth in traditional culture is the bells and their sound: the beautiful Marsha, who is called to marry the Russian fellow Semyon, "... dressed, shod ... dressed up," and among the components of this dazzling bright outfit with black boots, Saratov stockings, double dresses and azure ribbons belt with tassels of tambourines.
The bells were also part of the head, chest and waist decorations of the muzzle girl and were a symbol of girlhood. The ringing symbolized the girl's readiness to start a family, and therefore, after marriage, a woman no longer had to wear bells. The bell in the wedding ceremony also performed the protective function of a talisman, so that no one could harm the bride and groom. Often in the oral poetic work of the Mordovian people, the mention of a bell in the function of a herald of a very important event. The ringing of the bell is heard at the moment when the ritual cake “luvonkshi” is taken out of the oven. The oratorical skills of the matchmaker were compared with the ringing of the bell and bells, the beauty and strength of her voice were emphasized.
In traditional Mordovian poetry, nudes are a symbol of sadness. A nude performer either becomes sad at the moment of composing or playing a tune, or an unfortunate fate has befallen the musician. "There was a custom to play deplorable tunes in the cemetery on the nude." If the family had musical instruments and someone in the family knew how to play them, then this indicated a certain class level.
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.
Musical instruments were significant as symbols of power, beauty, girlhood, amulets. Performing musicians enjoyed the love and respect of the people, they had a high social status in society. In the bowels of folk instrumental performance, the sprouts of musical professionalism were born.
The auditory palette of the ancestors of modern Mordovians was filled with many musical sounds. In the morning, far across the village, the tunes of a shepherd were heard, for whom playing the nude was a second profession. "The rural community did not hire a herd to graze a flock who did not own the game of nudes."
Among the armor of the legendary Mordovian king and warrior Tyushti is a torama. In wartime, the voice of the torama gathered an army to defend their native land.
The rituals and holidays of the Mordovians are amazingly musical. There are many testimonies about the different stages of the wedding "performance", where instrumental music is mentioned. The holiday of the Christmas House - Roshtuvankudo, dedicated to the patron spirits of domestic animals, birds, bees and trees, also included rituals accompanied by playing musical instruments.
On the days of Christmastide, young people, accompanied by bagpipers and violinists, went from house to house with songs. And one of the traditional violinists was invited to the autumn holiday "Teiteren piya kudo" (Girl's beer house).
Pagan worship of the patrons of Heaven, Earth, Water, the elemental forces of nature, animals and plants manifested itself in the numerous prayers of the Mordovians, among the components of which were ritual treats for all participants and spirits, singing - pazmoro (divine songs) and performing instrumental music and ritual dances.
The attitude to the musical instrument was very careful and reverent, as evidenced by one of the Mordovian riddles about the garza (violin), in which the violin is called a child (the only one).
The magic of instrumental music also extended into the field of healing. It was believed that the sounds of nudes could stop bleeding.
The musician-instrumentalist enjoyed great respect and love among the people. He is not just an excellent master of his craft (he plays the bagpipes well, for example), but also has the best human qualities, and he is very attractive in appearance. In the song “Tell the dog to ring the pichen kudnya”, well done nudes are more beautiful than beautiful girls, more beautiful than brides.
A piper in a Mordovian village is an enviable groom, and a classic example of this is in the song “Alyanyatse veshnn tyanza” (“Father is looking for you”): neither for the son of a deacon, who will force you to pray, nor for a clerk-skripun who will force you to keep a torch, the girl will not marry goes. Only when a songwriter, the son of a piper, is proposed as a possible candidate, consent is heard in response.
A lot of information about the traditional culture of the Mordovians contains figurative descriptions of the sound of instruments, their "voices". In oral poetry, they do not say "play" a musical instrument, but say "sing". Some musical instruments already contain a “singing” beginning in their name, since each of the names of the instruments contains the word “sing”: sendien morama (M), sandien morama (E) - a reed flute (literally “sandi”, “sunday” - reed, "morams" - to sing, as well as - morama pyashen (M), morama pekshen (E) - linden flute ("pyashe, pekshe" - linden) and others.
From the very beginning, the process of creating and improving musical instruments went in two ways: approaching the timbre of the human voice or striving for an accurate reproduction of the voices of nature. So, for example, an instrument can “scream like a girl”, as in a riddle about nudes: “Which teyterke are brave?” ("Who yells at a girl?"). The sonorous female voice was often compared to a bell.
Musical instruments can also convey the sounds of "... the nature surrounding a person - the singing of birds, the cries and clatter of animals, the sound of the wind, thunder and others."
In the oral and poetic creativity of the Mordovian people, the musician is endowed with the best human virtues, he is very attractive in appearance. In the depths of the traditional art of the Mordovians, professionalism was born: musical dynasties were formed (the son of a piper is also a piper), the possession of the craft was inherited (they taught to play the instrument and make the instrument from childhood), original performing competitions were organized, ensemble playing required rehearsals, performers had high pay creative work (“girls hire a piper for a certain fee”), there were tunes specifically for listening, and not just to accompany singing and dancing.
Kalteima
Kalgerdema
Chakalka
nudes
Rubel Valek
Lulyamo
Mordovian men often played musical instruments. Not a single holiday, not a single action took place without musicians and playing instruments. These are: garze (m), kaiga (e) (violin); fam, ufam (m), puvama (e) (bagpipe); nude (m), nude (e) (type of double clarinet). The Mordovian people believed that the most provocative, cheerful and cheerful people are musicians, as evidenced by numerous songs and fairy tales. For example, in the Russian folk song "Kalinka-Malinka", recorded by A.S. Pushkin in 1830 says:
I do not need, mother,
No honey, no sugar
No sweet apples
No honey gingerbread;
Bring me, mother
Tatar with a violin
Mordvina with bagpipes,
Single with pipes.
"Merry Hill" by M. Volkov - hearing. The play in its intonation is based on the tunes of the Moksha violin tune “Parkhtsi paly” (“Silk shines”).
The teacher offers to pick up a rhythmic accompaniment to the piece.
^ Musical repertoire
Calcaemat. N. Boyarkin - hearing.
Zerezenkay (Moksha tune) - listening.
Merry slide (fr-t). M. Volkov - rhythm.
^
Topic: “The holiday “Roshtuvan kud”
One of the brightest winter holidays among the Mordovians was the Roshtuva (Christmas) holiday, which was not associated with Christian Christmas, but was dedicated to the spirits - the patrons of domestic animals, birds, bees and revered trees. It fell just on the day of the winter solstice - December 25th.
In the songs that were performed at the holiday "Roshtuva" (Christmas), the word "Kolyada" is found. No one can describe Kolyada, because no one has ever seen it. They only know that she comes to the Christmas holiday and brings people wealth, happiness, health. People composed many songs - “carols”, special laudatory and congratulatory songs, in which they asked Kolyada to bring success and health to their families, increase crops, and more livestock offspring. Carols were sung by shepherds, and children, and youth, when they walked through the yards and brought joy and celebration. With their songs, carolers invited satiety and wealth into the house.
The holiday "Roshtuvan Kud" ("Christmas House") was one of the main agricultural holidays, glorifying fertility and abundance in the new year. The more people flocked to the "Christmas House", which was filmed for the entire period of the celebration (from 10 to 14 nights, starting from the night of December 24 to 25), the stronger the good wishes were. And it was also necessary to come neatly and smartly dressed.
The holiday began with songs in which patron spirits were addressed to help increase the number of domestic animals and help grow a rich harvest. The first night was dedicated to the patron saint of pigs, so pork was always served, and a boiled pig's head was offered to the most respected people. The pig was considered sacred, embodying the fertility of the earth.
While the ritual meal of the elderly lasted while singing songs, the youth were engaged in guessing riddles:
After dinner and riddles, the tables were cleared. All those present were divided into 2 groups: the first - “shtuvan kudon kshtiikht” (dancers of the Christmas house) and the second - “shtuva kudon vanykht” (spectators of the Christmas house). The dancers were held in special esteem - their parents felt sorry for them and did not live, they fed them better and did not load them with work during the Christmas holidays.
One of the most favorite games at the holiday was the game "Ofton kshtima". The guy dressed up as a “bear”: for this he was dressed with a fur coat turned inside out, felt boots on his hands and feet, his face was stained with soot, his eyes were blindfolded. At the same time, they were forced to dance. “The bear stomped, stomped on the spot, jumped clumsily, rolled over from one foot to the other.” The task of the "bear" is to catch one of the dancers in order to transfer his role to him. If he caught a girl, then a familiar guy rescued her.
^ Musical repertoire
Roshtuva kudon teter (Christmas house girl). N. Boyarkin - hearing.
(E) Kalyada, Kalyada! (Kolyada) - singing.
(M) Ay, kalyada, kalyada (Ay, carol, carol) - singing.
Kalyadamo (Kolyadka). N. Boyarkin - hearing.
Kishtima roshtuvan kudoso (Dance in the Christmas house). N. Boyarkin - rhythm.
^
Theme: “Winter gatherings”
When the winter-winter came with snowstorms, snowstorms and frosts, the favorite pastime of the Mordovians in free long evenings was winter gatherings. They gathered in a clean, spacious hut, lit a torch that merrily burned and crackled, sang songs, danced, competed in the performance of perky and mischievous ditties. They loved to compose and tell fairy tales about good and evil rich people, about animals, fairy tales and everyday life. The protagonists of fairy tales were the pagan deities of the Mordovians - Viryava (patron, mistress and mother of the forest), Vedyava (patron, mistress and mother of water), Purginepaz (god of thunder), Nishkepaz (god of bees), Paksyava (patron, hostess and mother fields), as well as positive heroes (heroes) and negative ones (snakes, witches, an evil king).
Men were engaged in woodcarving, famous for their skill. Their hands made wooden cups (noodles (m), wakan (e)), spoons, mugs, ladles, ladles (kechene (m), kolgan (e)), salt boxes (saldorks (m)), spoon boxes (for storing spoons) in the form of a silhouette of a bird floating on the water, or a duck. A salt shaker with such an image was processed especially carefully, because. had a symbolic meaning - profit to the house. A dugout tub - par - was intended for dowry. It was decorated with an ornament consisting of geometric figures, crests, imitations of Mordovian ancient ornaments.
Singing songs, the girls spun yarn, they were famous for their skill in embroidery. Linen items were the main part of the bride's dowry. From the age of six, girls, under the supervision of their mother, began to weave and embroider. During the long autumn and winter evenings, the girl had time to prepare from 35 to 50 women's shirts, tablecloths, and towels for the wedding. (Show a reproduction of the painting by I. Sidelnikov "Mordovian embroiderers. Dowry").
At the wedding, the prepared things were exhibited for inspection, and they judged the skill and skill of the girl.
In the song "Roman Aksyas" ("Romanova Aksinya"), not only the girl's skill, her diligence, dexterity, but also her beauty are noted. Here the ideal of a girl is shown - the harmony of the external and internal world. Many demands were placed on the bride-girl. Preference was given to a beautiful, strong build, with a cheerful character, hardworking and accurate. They also looked at the wealth of the family and the behavior of the parents. They said:
The ideal of a beauty: black eyes, like "bird cherry color", rosy cheeks, slender, with good long hair, with hardy. strong legs. The gait should be firm, sweeping, similar to the "gait of a foal."
Attention was also drawn to how the dandy was dressed: her legs were wrapped first with linen, then with bleached woolen canvas; up to 12 scarves hung behind the belt; on the neck and arms - jewelry; 6 or 8 stripes are embroidered on the dress. (Show reproductions of paintings by Mordovian artists).
The entire costume was decorated with rich patterns. (Show reproductions of the costume and jewelry, name the details of the costume.) Pay attention to this moment: the more embroidered stripes on the dress, the more industrious and beautiful the girl was considered. And this was a very laborious work: in women's festive shirts, the forearms, sleeves, armpits, etc. were decorated with embroidery. Almost the entire costume was made by the hands of the girl, and her industriousness, perseverance, neatness, and patience were judged by her clothes.
Mordovian women were very fond of various jewelry made of beads, beads, chains, coins, bells, bells. And during the festive dances, all these ringing decorations served as the musical accompaniment of the dance. There was even such a proverb: “You will first hear a Mordovka, and then you will see it.”
^ Musical repertoire
(M) Roman Aksyas (Romanova Aksinya) – hearing.
Spinner. N. Boyarkin - hearing.
Snowman. Muses. Gene. Suraeva-Queen, Art. G. Belozerova - singing.
Yalgan kshtimat. The dance is gone. Yalgan kishtemat. N. Kosheleva - rhythm.
(Tat.n.p.) Shoma bass - singing.
III quarter
^
Theme: “We meet spring”
In this quarter, children continue to get acquainted with the traditions and rituals of the Russian and Mordovian peoples dedicated to the meeting of spring.
Many songs, riddles, proverbs among the Mordovians were dedicated to spring, the sun, and birds.
Acquaintance of children with the Erzya song “A sezya, sezyaka” (“Forty, forty”). This song was performed at the festival, which was called very affectionately - Maslenitsa. She was asked for contentment, abundance, health. Her assistant was the Sun, the almighty, reviving all living things. What had to be done to show that he was respected and hoped for? People baked butter pancakes, burned circular bonfires, danced round dances.
Birds brought spring on their wings - our ancestors thought so. And they created nicknames that “called” early birds home. March 22 is the day of the spring equinox. On this day, spring was called for the second time. And when the lawns were a little free of snow, the Mordovian youth was going to play. Participants were divided into 2 groups, both of which portrayed flocks of larks. At first, the flocks “flyed” in a circle (in pairs), depicting the children of birds, circled, waved their “wings”, and rested. At the sign of the leader, who imitated the singing of a bird (or played the whistle), the birds “flyed up” again. Unexpectedly, the flocks met, joyfully greeted "friends" and went on a "vacation" together. During the "rest" larks competed in dancing, singing songs, etc. (according to N.I. Boyarkin).
In the spring, from Shrovetide to Easter (for 7 weeks), spring songs (pozyarat) were sung in Mordovian villages. Once these songs were dedicated to the Mordovian patroness Viryava - the goddess of water, childbirth and fertility. The girls came to the river bank and sang songs. When performing these songs, the singers believed that the best singing is strong, loud singing. Mordovian singers were distinguished by very emotional, strong singing. The main role was played by the singer, who led the main voice; the rest listened to her and led their own melody.
Mordovians have long enjoyed special respect for willow. Willow was the first to report that nature would soon come to life, warmth would come. According to legend, willow had the ability to give health, vitality to people and animals. Palm buds were considered healing. They were given to chew for toothache and fever. Therefore, the Mordovians had a rite of "lashing with a willow." On March 21, “the willow was silvering”, and from March 21 to March 28 there was palm week. The rite was performed on Palm Sunday and was associated with the patroness of the spring wind and the mother of the willow - Varmava. The day before, on Saturday, Varmava was asked “to keep the girls healthy, keep them from notoriety, bread would be born, cattle would multiply.” In the evening they gathered for a walk, invited married guests ... First they were treated, and then they were “chased” through the ranks: girls and boys stood in a row, whipped each guest with willow branches, wished them health and family happiness with laughter and cries.
Early on Sunday morning, when the sun was just rising and the first rays gilded the roofs of houses, young people went around the houses in groups and whipped sleeping children with willow branches. While singing:
They whipped willow and cattle to keep them healthy. Whipped and sentenced (poems for improvisation):
The game "Verban whip".
Children stand in a circle. The host runs with a willow in his hands and touches the children. Children at this moment should jump: whoever does not have time to jump, he drives.
In order for the beautiful Spring to enter the Mordovian regions as a full-fledged mistress, the youth went to the river bank, sang songs, had fun, praised Varmava (patron of the wind):
There were also round dances. Round dances are the oldest entertainment among different peoples. They were led when the song, dance and game were not yet separated. Mordva, like many other peoples, especially revered and loved the Sun. To appease the patron of the Sun, to show their admiration and love, people stood in a circle symbolizing the sun. People hoped that the good forces of nature would hear them and help in their affairs.
^ Musical repertoire
Ducks are flying. M. Volkov - hearing.
(E) And sezyaka, sezyaka (Forty, forty) - singing.
(E) Mastyan chi, paro chi (Pancake day, good day) - singing.
About mom. Muses. N. Mitina, Art. A. Gromykhina - singing.
(E) Pozyara. arr. N. Boyarkina - rhythm.
(Tat.n.p.) Ak Kalach (White Kalach) - listening.
^
Topic: “Journey to musical theater”
In Saransk there is a musical theater named after. I. Yaushev, on the stage of which you can see opera performances, operettas, ballet. The children can be explained as follows: “If speech, movement, gesture are combined with singing, then this is a musical stage work. In it, the artists sing more than they talk. And in the case when they sing everything that they could say, it turns out to be an opera. It is composed by the composer based on the playwright's play. If the artists do not speak at all, do not sing, but express everything that needs to be said in movement, gestures and dance, then this is ballet. It is composed by a composer and choreographer. Each type of performing arts has its own types of theater: drama, opera and ballet theater, musical comedy theater ”(N.M. Sitnikova).
Illarion Maksimovich Yaushev - Honored Art Worker of Russia and People's Artist of Mordovia, a talented singer, bass. In his performance, Mordovian folk songs sounded emotionally, with love in different parts of Russia. He created the image of the prince-voivode Archilov in the first Mordovian performance - the musical drama "Litova".
Litova is a Mordovian girl, she is also Alena Arzamasskaya, who came to the Mordovian lands from Arzamas. She is Alena Temnikovskaya, who led the popular uprising in Temnikovo. Lithuanian came from Stenka Razin with a "golden letter", in which the peasant ataman urged everyone to stand up against the rich oppressors.
The play "Litova" was written by the Mordovian poet P.S. Kirillov, and the music was composed by L.P. Kiryukov. The premiere of the musical performance took place on May 27, 1943 at the Saransk Opera and Ballet Theatre. The Great Patriotic War was going on, and the theater with its performances helped people find hope in an early victory.
^ Musical repertoire
Aria of Litova from the opera “Litova” by L.P. Kiryukov (in Spanish R. Bespalova) - hearing.
Trolleybus. G.G. Vdovin, Art. E. Ruzhentseva - singing.
Pek vadrya (composition of the group “Pek vadrya”) – rhythmics.
^ IV quarter
Theme: "Birch-beauty"
Birch is one of the most beloved trees of Mordovians. The birch was considered a sacred tree, they glorified it in their songs.
“Luganyasya kelunya” (“In the meadow of a birch tree”) - singing. Showing and learning dance moves.
May is the time of flowering, grass growth, bright sun. And these days, filled with light, smells and warmth, the holiday "Troytsyan chi" ("Feast of the Trinity") was held. At first they went into the forest for the “Trinity tree” - a young birch, tore armfuls of flowers, young maple or birch branches. All this was necessary to decorate the home: flowers and grass were laid on the floor, windows were decorated with branches. By noon, the families went to the field, where they sang songs and asked nature to help grow a good harvest. At the same time, eggs were thrown up. Whoever throws higher should have a richer harvest. Around the "Trinity tree" they danced, sang and danced.
^ Musical repertoire
Kuzhon Morot (Round dance). N. Boyarkin - hearing.
Luganyasa kelunya (Birch in the meadow) - singing.
(E) Kavto cerat tikshe ladyit (Two guys mow the grass) - singing.
Sunny Bunnies. Muses. Gene. Suraev-Korolev, Art. A. Gromykhina - singing.
Birch in the meadow. arr. A. Putushkin - rhythm.
(Tat.n.p.) Urmekuch (Spider) - rhythm.
^
Theme: "Summer to visit us"
When summer came to the Mordovian land, the children enjoyed sunny days, a warm river, and a tan. We gladly went to the forest for berries, mushrooms, sorrel and wild onions. They ran through the streets and called for a warm and quiet rain. They loved to cultivate peas, sunflowers, feed chickens, goslings, guard and graze them.
In the summer, Mordovian children made toys for themselves from wood, clay, pebbles, and plants. The girls made themselves rings and bracelets from water lily flowers. The boys made a whistle-flute from a willow rod (“veshkema” (e), “vyashkoma” (m)); weaved baskets for mushrooms and berries, bast shoes from lime bast.
Haymaking was a real holiday of summer. The whole family went to the meadows: the kids brought fresh water, the teenagers, together with the adults, mowed the grass, turned and raked the hay, put it in shocks. During the rest, Mordovian children started various games: “In the crow”, “In the cockerel”, “In the squirrels”, “Cats and mice”. In these games, a driver was chosen (“crow”, “wolf”, “cat”), who must catch the fleeing “chickens”, “squirrels”, “mice”.
During grazing, children, along with adults, competed in guessing and guessing riddles, performing nursery rhymes, ditties, and songs. On a summer night, songs were carried far around the district (according to the book “Folk Traditions of Raising Children among the Mordovians” by N.F. Belyaeva).
, singing.
Kindergarten. Muses. N. Mitina, Art. Tovarkova - singing.
Apple tree. arr. A. Putushkin - rhythm.
^
PREPARATORY GROUP
Singing
Tasks:
to continue to acquaint with Russian, Tatar folk songs, to form the skill of their performance;
continue to acquaint with Mordovian folk songs in the volume of the sixth, seventh with the structure m.3 + b.2 + b.2 + m.3; b.2 + m.3 + b.2 + b.2 of various genres: lyrical, epic, wedding songs, carols, etc., to form the skill of their performance;
continue to acquaint with the songs of the composers of Mordovia;
work on expressiveness, melodiousness of intonation, clarity of pronunciation of the text;
learn to sing on a support;
to learn to sing cleanly within fifths-septims;
to form the skill of "chain" breathing;
to form the skill of bourdon two-voice singing;
to form the skill of improvising figurative movements of characters, the skill of staging songs at your own discretion.
