Mordovian folk instruments. Abstract: Mordovian folk musical culture: genres, originality and way of life. Mordovian folk musical art
named after N.P. Ogareva
Faculty of National Culture
Department of Folk Music
Course work
Mordovian folk musical culture: genres, originality and life
Kutaeva E.O.
Saransk 2008
1. Settlement of Mordovians-Erzi and Mordovians-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 The existence of Russian songs in Mordovian villages
Conclusion
Literature
Applications
Introduction
The oldest mentions of the Mokshans and Erzyans date back to the era of Herodotus, who mentions them under the names of Androphagi and Tissaget, describing their role in the Scythian-Persian war in 512 BC. uh... Later, the Mokshans play a role in the history of the Khazar Kaganate, the principalities of Vladimir-Suzdal and Ryazan, and the Erzyans in the history of Volga Bulgaria and Nizhny Novgorod. According to research by Finnologists based on the study of language, the Mokshans and Erzyans once experienced the cultural influence of the Sarmatians, Khanty, Huns, Germans, Lithuanians, Hungarians, Khazars, and later the Tatars and Slavs who neighbored them at different times. According to archaeological data, during the period of their ancient history the Mokshans inhabited the lands in the upper reaches of the Don River to Moksha and Khopr, and the Erzyans inhabited the Volga and Oka basin; further to the east they settled in later times, mainly retreating before the Russians. Clashes with the Erzyans began among the Russians in 1103, when the news of the attack of the Murom prince Yaroslav Svyatoslavich on the Erzyans was recorded in the chronicle: “...Yaroslav fought with Mordva in the month of March on the 4th day and Yaroslav was defeated.” In the 13th century, the Russians began to overcome the “Purgas Mordovians” (Erzyans), especially after the founding of Nizhny Novgorod.
The campaigns of the Russian princes against the Burtases, the alliance of Alans and Mokshans date back to 1226. 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 subjugated them to the Tatar Murzas, the Moksha kingdom became a vassal of the Mongols, and most of the male population in 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 the Moscow prince Dmitry Ivanovich on the Pyana River. This pogrom did not stop Russian colonization, and the subjugation of the Erzyans to the Nizhny Novgorod, Ryazan and Moscow princes proceeded gradually starting from the end of the 14th century.
The Temnikov prince Enikeev with his subordinate Mokshans and Meshchera took part in Grozny’s campaign 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 Erzyan lands was distributed to the boyars; the rest temporarily became part of the royal Mordovian estates, but were then distributed to monasteries and landowners, mainly with the aim of converting the local population to Christianity. Next to the Russian landowners, the Meshchera and Moksha noble families owned lands, converted to Christianity and retained their title (for example, the princes Bayushevs, Razgildeevs, Enikeevs, Mordvinovs and many others). Submission to Moscow was expressed primarily in the seizure of land and the imposition of heavy taxes on the local non-Russian population, which, apparently, was the reason for the participation of the Mokshans and Erzyans in many riots and uprisings (from the era of the first impostor to Pugachev), as well as the flight to the East. The Erzyans took an active part in the uprising of Stenka Razin, and later, both the Mokshans and the Erzyans - in the uprising of Emelyan Pugachev.
Already in the first half of the 17th century. Mokshans and Erzyans moved beyond the Volga, and in the 18th century. widely distributed throughout the Samara, Ufa and Orenburg provinces. Those who remained in their former places were increasingly subject to Russification, mainly due to forced mass baptism (especially in the first half of the 18th century). The 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 perpetrators were punished and even sentenced to burning for sacrilege. Attempts to resurrect the “old faith,” albeit in a different form, already imbued with Christian concepts, were repeated among the Erzyans at the beginning of the 19th century. (“Kuzma Alekseev”). Nevertheless, the Mokshans and Erzyans were increasingly 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 Erzyans, schismatic sects “People of God”, “Interlocutors”, “Molokan”, etc. are developed. In the indigenous region of the Mokshans, Russification also made major progress; many villages have lost their former names and cannot be distinguished from Russian ones. Moksha more firmly retains its characteristics in the north of the Penza province, in Krasnoslobodsky, Narovchatsky and Insarsky; but even here, groups of their villages, surrounded by Russians, are increasingly exposed to Russian influence, which is favored by the improvement of communications, the destruction of forests, and waste industries.
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 1,200 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 there are 391 thousand Mokshans, 795 thousand Erzyans, in the Barnaul district there are 1.4 thousand Mokshans and 1.4 thousand Erzyans, also 5.2 thousand Russified Mokshans and Erzyans called themselves the ethnonym “Mordovians”.
The size of the Mordovian population (Mokshas and Erzyans) by region 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 1989 microcensus, the number of Mokshans and Erzyans in the USSR was 1153.9 thousand people. (most Mokshans and Erzyans 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 Autonomous Soviet Socialist Republic, 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. Data from the 2002 Russian Population Census 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 republic’s population).
Considering these data, I would like to believe that the Erzya and Moksha people, resisting the Russification and change of the Republic, city or country, would always remember their history and would never disappear altogether; so that any Erzyan or Moksha citizen, when answering the question of what nationality he is, speaks the truth without shame or regret!
In my course work, I talk about the settlement of the Erzi Mordovians and the Moksha Mordovians 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 Mordovians-Erzi and Mordovians-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, to 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 - regional. The capital of the republic is Saransk (317 thousand people), located 600 km from Moscow. The settlement system in Mordovia was initially dispersed due to the landscape and historical features of the territory. This is due to the inclusion of Russians and Tatars in the traditional area of settlement 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 framework 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 Pichkiryaev to the west to Ardatov to the east.
Well, now I would like to take a closer look at each of the districts separately:
1. Ardatovsky district
Formed on July 16, 1928. Area 1192.5 km2. Population 30.7 thousand people. (2005). Center - Ardatov. There are 28 rural administrations. Located in the northeast of the Republic of Moldova. In its northern and southern regions there are forest-steppe landscapes, in the center there are 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 - village Atyurevo. Consisting of 13 rural administrations. Located in the west of the Republic of Moldova. In its eastern part there are forest-steppes, and in the western part there are landscapes of mixed forests. The main population is Moksha.
3. Atyashevsky district
Formed on July 16, 1928. Area 1095.8 km2. Population 21.8 thousand people. (2005). The center is the urban-type settlement of Atyashevo. It consists of 21 rural administrations. 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
Formed on January 26, 1935. Area 957.7 km2. Population 15.2 thousand people. (2005). Center - village Bolshiye Berezniki. Consisting of 16 rural administrations. Located in the southeast of the Republic of Moldova in the forest-steppe landscapes of the Volga Upland. The main population is Erzya and Russian.
5. Bolsheignatovsky district
Formed on January 10, 1930. Area 834.2 km2. Population 9219 people. (2005). Center - village Bolshoye Ignatovo. Consisting of 13 rural administrations. Located in the northeast of the Republic of Moldova in forest-steppe landscapes. The main population is Erzya.
6. Dubyonsky district
Formed on July 16, 1928. Area 896.9 km2. Population 15661 people. (2005). Center - village Dubyonki. Consisting of 16 rural administrations. Located in the east of the Republic of Moldova. The relief is erosion-denudation, in the south and southeast there is the valley of the Sura River. The main population is Erzya.
7. Elnikovsky district
Formed on January 25, 1935. Area 1056 km2. Population 12.9 thousand people. (2005). Center - village Elniki. Consisting of 16 rural administrations. Located in the north of the Republic of Moldova in the landscapes of mixed forests, in the southwestern part - the valley of the Moksha River. The main population is Russians.
8. Zubovo – Polyansky district
Formed on July 16, 1928. Area 2709.43 km2. Population 64.2 thousand people. (2005). The center is the working village of Zubova Polyana. It consists of 27 rural administrations. Located in the southwest of the Republic of Moldova. Landscapes of mixed forests of aquatic-glacial plains predominate. The main population is Moksha.
9. Insarsky 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%. The center is the city of Insar. Consisting 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 - village Kemlya. It consists of 21 rural administrations. Located in the north-west of the Republic of Moldova, mainly in forest-steppe landscapes. The main population is Russians.
11. Kadoshkinsky district.
Founded 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 village 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 rationale.
Formed on July 16, 1928. Since 2000 – Moscow Region. 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 forest-steppe, the eastern - forest landscapes. The main population is Russians.
13. Kochkurovsky district.
Formed on July 16, 1928. Area 816.5 km2. Population 11.4 thousand people. (2005). Center - village Kochkurovo. Consisting of 13 rural administrations. Located in the southeast of the Republic of Moldova. Forest-steppe landscapes predominate, with the Sura Valley in the southeast. The main population is Erzya.
14. Krasnoslobodsky district
Formed on July 16, 1928. Area 1.4 thousand km2. Population 28.1 thousand people. (2005). Center – Krasnoslobodsk. It consists of 22 rural administrations. Located in the north-west of the Republic of Moldova. In its western part there are forest-steppe landscapes, in the eastern part there are forest landscapes. The main population is Russians.
15. Lyambirsky district
Formed on July 20, 1933. Area 880.1 km2. Population 33.5 thousand people. (2005). Center - village Lambir. Consisting of 16 rural administrations. Located in the center of the Republic of Moldova, in forest-steppe landscapes. The main population is Tatars.
16. Ruzaevsky district
Formed on July 16, 1928. Since 2000 – Moscow Region. Area 1.1 thousand km2. Population 67.8 thousand people. (2005). Center - Ruzaevka. Consisting of 21 rural administrations. Located in the center of the Republic of Moldova, in forest-steppe landscapes. The main population is Russians.
17. Romodanovsky district
Formed on April 16, 1928. Area 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
Formed on July 16, 1928. Area 1419.4 km2. Population 15.1 thousand people. (2005). Center - village Old Shaigovo. It consists of 27 rural administrations. Located in the west of the Republic of Moldova. The eastern part is dominated by forest-steppe, and the western part is dominated by landscapes of mixed forests. The main population is Moksha.
19. Temnikovsky district
Formed on July 16, 1928. Area 1.9 thousand km2. Population 19.8 thousand people. (2005). Center - Temnikov. It consists of 23 rural administrations. Located in the north-west of the Republic of Moldova. In its northern part there are landscapes of mixed forests, in the southern part there are forest-steppe landscapes. The main population is Russians and Mokshas.
20. Tengushevsky district
Formed on July 16, 1928. Area 845.2 km2. Population 13.7 thousand people. (2005). Center - village Tengushevo. Consisting of 15 rural administrations. Located in the north-west of the Republic of Moldova. In its northern and southern parts there are landscapes of mixed forests, in the central part there is the Moksha valley. The main population is Erzya and Russians.
21. Torbeevsky district
Formed on July 16, 1928. Area 1129 km2. Population 22.6 thousand people. (2005). The center is the urban-type settlement of Torbeevo. It consists of 19 rural and 1 township administrations. Located in the southwest of the Republic of Moldova in forest-steppe landscapes. The main population is Russians.
22. Chamza district
Formed on July 16, 1928. Area 1009.5 km2. Population 33.3 thousand people. (2005). The center is the urban-type settlement of Chamzinka. It consists of 2 village and 13 rural administrations. Located in the southeast of the Republic of Moldova in forest-steppe landscapes. The main population is Russians and Erzya.
2. Genre classification of Erzya folk songs
Musical culture is an integral part of every people, which have distinctive features characteristic only of their language group, related to one or another habitat, be it Karelians, Finns, Estonians, Udmurts, Maris, Tatars, Chuvashs, etc. Mordovians - Erzya and Mordovians - Moksha are no exception. Located on the banks of the Moksha, Insar and Sura rivers, Mordovia is rich in many rituals and customs, overflowing with an abundance of national instrumental music. Just like in all other cultures, the songs of the Mordovians - Erzi are divided into genres. Boyarkin N.I. dealt with this issue in Mordovia. In his collection “Monuments of Mordovian native musical art”, volume 3, he presents to our attention the following genre classification of Erzya songs:
1. Sokiqian–viditian morot (songs of plowmen and sowers – calendar songs)
Kolyadan Morot (carols)
Mastyan Morot (Shrovetide)
Tundong Morot (spring songs)
Pizemen seeremat (rain cries)
2. Semiyaso eryamo morot dy avarkshnemat (songs of family life and laments)
Wedding Morot (wedding songs)
Kuloz lomande laishemat (lamentation for the dead)
Wedding laishemat (wedding laments)
Recruitto avarkshnemat (cry for recruits)
3. Liyatne morot (other songs)
Lavsen Morot (lullabies)
Tyakan nalksemat morot (children's play songs)
Kuzhon morot (circular songs)
Ease the 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 one can quite agree with this interpretation. But in the first section, I believe that there are not enough songs of the Christmas house and songs of the harvest; they should also be placed in the genre table as separate items, since these songs are not isolated and are also of great interest to folklorists. As for the third point, many controversial issues arise here. First of all, what are these other songs? Doesn't this group deserve a more accurate name? Well, at least, for example, not timed, as in Russian folklore. Secondly, this group is too small and does not give a complete picture of all the “other” songs. There are a lot of Erzi songs that tell about the difficult life of a woman (about being married to a baby, about the difficult burden that fell on the shoulders of a 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 existing on the territory of the Republic of Moldova.
Now I would like to take an even deeper look at one of the subgroups of calendar songs - spring songs. I chose it because here I also have controversial issues.
Among 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) were usually sung by children. They are similar to the chants of tyakan nalksema morot (children's play songs). They were performed by groups in the tradition of heterophony, close to monody.
Example No. 1
With. Old Vechkanovo Isaklinsky district
Kuibyshev region
1. Gimme gimme pachalkse Gimme gimme damn
Give me a piece of pancake Give me a piece of pancake!
2. Chikor – lakor ezem chire Chikor – lakor end of the bench
Chikor - ezem bruske Chikor - bench brusche!
Example No. 2
With. Old Baytermish, Klyavlinsky district
Kuibyshev region
1. Mastian chi, paro chi! Pancake 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’s fur coat is worn out, Wai’s fur coat is worn out,
We'll put on our hat, We'll wear out our hat,
Wow, varginem kalads, Wow, your mittens are worn out,
Let's get busy! Wow, my felt boots are worn out!
In these examples, we see that these are either shouted or patter songs. A poetic stanza usually consists of 2 six-seven-syllable stanzas and is intoned at the ambitus of a second, third, and less often a fourth. In the melostrophe of the 2nd partial form, the parts are either contrasting (AB - example No. 1) or constructed according to a standard formula (AA1A2A3... - example No. 2). The plot of these songs is usually simple. The songs ask for: pancakes, which symbolize the sun, or for Maslenitsa to take away the cold. Since Maslenitsa 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 bench, the bench, are its complement). This results in a non-meaningful set of words.
The next group of songs is Moro Tundon redyamat (song of spring signs). In terms of melody, these songs are more varied 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 minor. It contains jumps at uv4, ch5. The upper voice here initiates 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 a major sixth. The architecture is unbalanced. There are also characteristic unisons in the middle and at the end of the song. Basically, songs of signs of spring have a question-and-answer form.
And finally, the last subgroup of songs, performed to this day and causing some controversy among folklorists - pozyarki or pozyarama.
In my opinion, it would be wrong to call this group that way (classification by N.I. Boyarkin). It gets its name from a frequently repeated meaningless word, despite the fact that there are songs with the same word related to other times of the year.
Here are some of them:
And the poser is the poser
With. Old Yaksarka, Shemysheysky district, Penza region .
And pozyara pozyara! And pozyara pozyara!
Wheat is behind the threshing floor! Wheat is behind the threshing floor!
Who walks along the edge? -Who will reap her?
Lida walks along the edge. - Lida is reaping her.
Who's coming for her? -Who is behind her?
Peter follows her. - Peter is standing behind her.
And pozyara pozyara!
Wheat is behind the threshing floor!
Who knits the sheaves?
Lida knits sheaves.
Who stacks the sheaves?
Peter stacks the sheaves.
And the poser is the poser
Kameshkirsky district
And pozyara pozyara pozyara
Behind the threshing floor, wheat, wheat.
Who will reap her, her?
Avdotya is reaping her, her.
Who walks along the edge, along the edge?
Peter walks along the edge, along the edge.
Oh Avdotyushka, God help you, God help you.
Oh Petenka 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 pozyarks. Therefore, to be more precise in the title, these songs should be called Tundon pozyarat ( Spring poses).
Now, again turning to the works of N.I. Boyarkin, we can find that pozyarki stand out to them as reproach songs. We can find the same definition in L.B. Boyarkina: by calling them korilnye, we thereby emphasize their ancient function, thematic circle, association with the time of year - this is all the explanation and no further evidence follows.
Having examined the texts of the poems, we will see that their plot clearly does not belong to the group of coril songs, but, on the contrary, glorifies 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 the nightingale, which is the constant messenger of spring and etc.).
Speaking about the musical analysis of these songs, one can notice that they are very similar to Tundon redyamat morot (songs of the signs of spring) in the intervallic composition and relationships that arise within the work. Pozyarki musically are built according to a standard formula with minor improvisational changes. Their distinctive feature from all other songs is that at the beginning of each stanza the same meaningless word - posera - is repeated, and at the end unisons do not always appear, which is not very typical for Erzya musical folk art.
And concluding, I would like to say that when considering the genre table of different nations, you should not blindly believe everything that is included in them. You should familiarize yourself with the works characteristic of the people being studied, and only then look at the genre classification presented for public viewing.
3. The originality of Erzya and Moksha songs
Many books and scientific articles have been written about the differences between Mordovians-Erzi and Mordovians-Moksha. Unfortunately, Erzya and Moksha songs are not mentioned anywhere among the differences. If a song is sung in Moksha, then it is Moksha, if a 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 the nationality. A lot of scientific articles are devoted to analyzing the differences Mordovian song and Russian, Mordovian song and Tatar, Mordovian song and Udmurt, etc.
Is it really possible that, apart from differences in language, costume, rituals, and customs among the Erzyans and Mokshans, there are no specifically different features in the songs?
Let's look at two spring songs at once: the first is Moksha, the second is Erzya. The Moksha song mainly has a sharp sound due to the parallel seconds on which the work is deliberately built. In the Erzya song, everything is again much simpler: although there are second-to-second ratios, they are listened to very melodiously throughout the entire song, without standing out from the general mass of sound.
You 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 reviewed 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 songs. Their texture is more transparent and without sharp harmonies. While the Mokshans admire unexpected chords and density of sound, the Erzyans at this time enjoy stretching out empty intervals and free texture. And now I can say for sure that by ear you can still distinguish an Erzya song from a Moksha song without listening to the words and without knowing the genre.
4. The existence of Russian songs in Mordovian villages
Until recently, Russian folklore of Mordovia attracted the attention of scientists mainly in connection with the study of Russian-Mordovian folklore relations, which became 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 Russian and Mordovian folklore have a lot in common, but he explained the emergence of this commonality either only by the influence of Russian folklore on Mordovian, or Mordovian on Russian, while the commonality and similarity can also be determined by 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. A Russian song is often performed after a Mordovian song and vice versa. We can say that in a number of villages these and other songs are perceived 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 sang was Mordovian, when in fact it was Russian. Frequent performance of Russian songs developed among Mordovian performers the habit of feeling them as their own, especially since, having existed for a long time among the Mordovians, examples of Russian folklore often changed in form and language, acquired Erzya and Moksha words and even entire 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 write in their works about the positive aspects and qualities of borrowing Russian songs from the Mordovians. I look at this a little less optimistically and enthusiastically.
Our ancient Mordovian culture is losing its “self” under the onslaught of Russian folk art.
Starting to consider the question of the existence of Russian song in villages, I do not want to repeat myself after other researchers of folklore, because too much has been written about this without me, I just want to say about the tragedy that will certainly follow all this:
We - Mordovians - Moksha and Mordovians - Erzya, being part of the Finno-Ugric people, are at risk of extinction of the national consciousness. Soon there will not be a single Mordovian song left in the repertoire of our village grandmothers - hence the extinction of the native language and the disappearance of Mordovian identity.
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 musical folk art in the art of each country has long been recognized. Folk art found its most vivid and complete expression not in purely instrumental music, but in combining melody with words - in song. The song, which originated in its most primitive form many thousands of years 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 both the lyrics and tunes. A collection of folk songs, the main result of the thousand-year history of most peoples.
Let us carefully preserve our property and take care of its survival. Preserve the treasures of folk musical culture, make them accessible to the general public, professional and amateur performing groups, provide additional material for the creativity of composers, as well as for pupils and students of special educational institutions.
I hope that this work will make you think and analyze the entire current 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. Ananicheva // Typology and interrelations of folklore of the peoples of the USSR. –M., 1980. – P. 282-298
2. Boyarkina, L.B. Calendar and circular songs of Erzya settlers of the Middle Trans-Volga region (genres, functions, musical and stylistic features). – In the book: Folklore and folklorism. / Comp. NOT. Bulycheva. – Saransk: Mordov publishing house. Univ., 2003. – P. 79-103.
3. Bulycheva, N.E. Folklore and folklorism of the period of formation of professional traditions (based on the material of Mordovian music). / NOT. Bulycheva. – Saransk: Mordov publishing house. University, 2003. – 240 p.
4. Volostnova, T.I. Russian folklore in the multicultural space of Mordovia: abstract. diss. for the job application scientist Ph.D. degrees ist. Sciences / T.I. Volostnova. – Saransk, 2006. – 18 p.
5. All about Mordovia. – Saransk: Mordov. book publishing house, 1997. pp. 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 wives courses. – 1914. – Issue. 1. – Book. 1. – pp. 40-43.
7. Mordasova, S.G. Traditional culture of Russians of the Republic of Mordovia and their life support system: abstract of thesis. dis... 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. 164 p.
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. Layout of regions bordering the Republic of Mordovia
Home > DocumentMethodological assistance in mastering the regional and national-regional component of the content of music education
in educational institutions of the Republic of Moldova
Based on materials from the section"Musical art" (head of general editor – N.M. Sitnikova) encyclopedia"Mordovia" (chief editor A.I. Sukharev) (2003)
ChapterII
Musical works, genres of folk and professional musical art of Mordovia
Mordovian folk musical art
MORDOVIAN FOLK VOCAL MUSIC. It is distinguished by a wealth of styles and genres. Developed terminology indicates the presence of people. music theories. Rooted in deep history. past, M. n. V. m. is organically integrated into the life of the people, their ritual and entertainment rituals and theatrical performances. festivities, in which she performs in synthesis with the instrument. music (see Mordovian folk instrumental music), choreography and pantomime, poetic. (including prose) genres of folklore. For M. n. V. m. are characterized by 2 performing forms: single and joint. (collection). Lamentations of all genre types, wedding well-wishes (m. svakhan shnamat, e. kudavan morsemat “songs of a matchmaker”), prod. for children (m. nyuryaftoma morot, e. lavs morot “lullabies”; m. shaban nalkhksema morot, e. tyakan nalksema “children’s play songs”). Style specificity of the production. single performing form in means. to a degree depends on the relationship with the life of the ethnic group, ritual and non-ritual forms of functioning. Suppress their part is characterized by polytextual melodies of recitats. and recitative-song type, characterized by archaic melody (in many ways similar to similar tunes of Finnish-speaking peoples), rhythm, initially determined by the syncretism of word and tune, accompanying. to these tunes; poetic the texts are replete with archaic elements, many of them similar to f.-u. poetry - alliteration, word repetition, parallelism, figurative metaphors. substitutions and symbolism, connections. with mythological concept. A unique feature of the recitats. and recitative-song tunes is their performance with different pitch-registration and timbre-dynamic. shades that have important semantic meaning. direction. Among the tunes of a single form of song style inherent in the preem. lullabies and nursery rhymes, there are both historically early and very late, up to borrowings (2nd half of the 19th - early 20th century) from Russian. vocal and instrument. music.Basic genres of M. science V. m. joint intonations are non-ritual long epic and lyrical. songs (kuvaka morot - m., e.), songs of farmers. calendar (sokaen-vidien morot - m., sokitsyan-viditsyan morot - e.) and b. including wedding (chiyamon morot - m., wedding morot - e.). Thin in depth. generalizations of reality, ideological and thematic. diversity, uniqueness of musical and poetic images they refer to the top of the muzzles. adv. music lawsuit They reflected the original music with the greatest brightness. the genius of the people, his thin. involvement in the f.-u. cultural traditions of the past, centuries-old connections with the music of the Turkic, Slavic. and other peoples. M.Sc. V. m. joint performing form, rich in its polyphonic style (see Mordovian folk polyphony), became the central component of the entire tradition. music culture of the people. It preserves the most ancient melodies. forms of single singing, connection. with chants, and instrument. playing music with specific bourdoning, which largely determined ethnicity. sound ideal. For joint singing is characteristic of several. vocal manners: intonation in the manner of leisurely choral storytelling (Morams-Korkhtams - 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” - “An old man with an old woman”, “Tyushtya”, “Samanka”, etc.); joint chanting (Morams-Rangoms - m., e.) carols, Maslenitsa and Trinity songs, rain invocations, connections. with ancient rituals of asking for benefits from mythological people. patrons; soft dynamic leveling the sound of choral voices (lyaponiasta yuvadems - m., valanyasto morams - e.) in songs-dialogues with birds, songs about the signs of spring, family and everyday ballads; in the manner of bright, dense expressive sound management (yuvatkshnems - m., morams-pizhnems - e.) in the long songs of the Christmas house, moksh. wedding celebrations in the form of good wishes, shoksha songs, timing. to the ice drift.
M.Sc. V. m. was fundamental. influence on the formation of facial style. prof. music culture. It is especially noticeable in the works of composers - collectors of folklore. music by L.P. Kiryukov G.I. Suraev-Korolev, G.G. Vdovin N.I. Boyarkin M. n. V. m. has not lost her thinness. values: it sounds in nar. everyday life, found a new life on the concert stage as in tradition. form, and in a variety of 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; It's him. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Boyarkina L.B. Vocal diaphony of the Erzya wedding // Music in the wedding rites of the Finno-Ugric peoples and neighboring peoples. - Tallinn, 1986; It's her. The art of joint singing of the Mordovians of the Trans-Volga region // Folklore in the works of Mordovian writers and composers: Tr. NIYALIE. - Saransk, 1986. - Issue. 86.
L.B. Boyarkina
MORDOVIAN FOLK INSTRUMENTAL MUSIC. The syncretism of ancient art has been preserved to this day. Diverse in social functions (labor, ritual-ritual, aesthetic). It has a developed genre-style system and is organically connected. from tradition vocal music (see Mordovian folk vocal music) and mythological. concepts of ethnicity. It distinguishes between tunes and accompaniments for vocal performances of songs.From tunes, connections. with the labor activity of society, the following are known: working rhythms - laconic, stable formulas, performed on special. percussion instruments (idiophones), sometimes accompanied by singing; hunting noises are rhythmically disordered. signals produced by struck, struck and scraped idiophones for the purpose of driving game to hunters; hunting melodic signals intoned on natural trumpets (m. toram, e. dorama) before the start and end of the hunt. The most developed among the Mordovians was the ritual instrument. music, in which there are 2 main differences. class of tunes: non-program and program. The first include widespread. in the recent past, polytimbre noise tunes accompanied episodes of family and calendar festivals, carnival processions, performed on trees. and metallic idiophones, timbre and dynamics were given decisive importance. The tunes were divided into panemat (from panems “to drive away”), which performed cathartic, and veshemat (from veshems “to ask”) - karpogonic. functions. Program tunes are characterized by a variety of genre types. The roots of the tunes go back to the ancient cults preserved among the Finno-Ugric peoples in mythology, song poetry and prose, choreographic. and applied art, ritual and entertainment forms of traditions. adv. theater They have stable program names, connections. with name cult animals, birds and sacred trees, which are often replaced by metaphors (old man bear, silver-winged swan, etc.; see Cult of trees, Cult of animals). According to the character and timbre of sound, figurative and thematic. content, musical-style features and forms of interaction with traditions. Songlike tunes form two genre groups: zoo- and ornithomorphic. Zoomorphic program-image. and onomatopoeic. character - ovton kishtemat (bear dances), in the past they were intoned on bagpipes and nudes, nowadays - on the violin and harmonica, accompanied by shaken metallics. and trees struck idiophones, as well as a mortar and pestle (a symbol of fertility). Performed at weddings and in the Christmas house. That means they were different. melodic improvisation. Ornithomorphic tunes of 3 genre types: guvan unamat (cooing of a dove), which symbolically reflected ancient forms of thinking; narmon seeremat (bird calling) - Maslenitsa calls of migratory birds, intoned on ocarina flutes; narmon kishtemat (bird dances) is the most developed type of ornithomorphic pieces, performed in the past on the nyudi, garzi and gaiga, and now on the violin, balalaika and harmonica accompanied by dancing 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, most preserved among the Mordovians-Shoksha and Erzi, tunes of a symbolically programmatic nature pazmorot (from paz “patron”, Moro “song, tune”), which existed in the Ozks, dedicated. animistic sacred cults trees and water. The latter, along with the main function - the propitiation of Vedyava - other elements of magic are also inherent, for example. cleansing after the wedding night. Pazmorot, based on the nature of performance and musical-style features, are divided into dance (connected with the cult of water) and drawn-out (connected with sacred trees), which also include songs under the same names.
From a non-ritual instrument. 2 genre types of music are known: wanyqian morot (shepherd songs), a type of music-philosophy. tool. lyrics, and one morot (songs of youth). The first ones are intoned in nude; according to music the warehouse are improvisations based on drawn-out and dance tunes, as well as melodic signals. The second ones are performed at circle games, gatherings and autumn scatterings on nyudi, garzi, gaiga; their program names. similar to the name plays f.-u. and Turk. peoples, communications with the names of girls and boys, animals, everyday life.
In modern In the everyday life of the people, tunes and borrowings are common. from neighboring peoples: Russians, Tatars, Chuvash. Tool. music significantly influenced the formation of song melody and polyphony, ethnicity. timbre ideal (see Mordovian folk polyphony). Lit.: Boyarkin N.I. Folk musical instruments and instrumental music. - Saransk, 1988; It's him. The phenomenon of traditional instrumental polyphony (based on Mordovian music). - St. Petersburg, 1995.
N.I. Boyarkin
MORDOVIAN FOLK MUSICAL INSTRUMENTS, monuments of tradition music ethnic culture. They influenced the origin and development of many. forms of tradition. music. Based on the vibrator (sound source) main. classes of faces. instruments are idiophones (self-sounding), chordophones (strings) and aerophones (wind).Known idiophones are: kaldorgofnema (m.), kalderdema (e.). There are 4 common types. The colliding idiophone is a smoothly planed maple board, length. 170-200 mm, wide. 50-70 mm, thickness. OK. 10 mm with handle length. 100-120 mm, dia. 20-30 mm. 2 small maple plates were attached to both sides of the handle using strips of rawhide. The struck idiophone is a 4-sided box made of solid wood (linden, maple, birch) on Wed. dl. 170-200 mm, wide. 100-120 mm with handle at the bottom length. 100-150 mm. To harsh tar. rope, attached from above by a leather strap; a piece of oak knot, lead or an iron nut was suspended from the outside. The struck idiophone is a hollow cylindrical, open at one end. or a 4-, 6-, 8-sided box made of solid wood with a handle (dimensions like the 2nd type). Unlike the 2nd type, a piece of wood or iron was suspended inside the box. Scraper idiophone - smoothly planed. cylindrical maple timber shapes long 100-150 mm, wide. 70-80 mm with a handle at the bottom and a cutout. along the edges of the cylinder with teeth. A piece of wood was attached to the top of the cylinder and handle. rectangular frame long. 250-300 mm, width. 100-150 mm or later - metallic. bracket several smaller in size, in the middle of the cut a flexible tree was tightly strengthened. vibrator plate (kel). In order for it to hold better and be springy, a transverse rod was attached in the middle of the frame, and a metal one was attached to the bracket. kernel. When the frame or bracket rotated around the beam (for which the performer made circular movements above his head), the plate jumped from one tooth to another, while emitting strong clicks, which at a fast pace turned into a crackling sound. Kalchtsiyamat (m.), caltsyaemat (e.) - 3, 5, less often 6 trees. ash plates of unequal length, fastened. bast or leather strap. When hitting wood plates. With hammers or spoons they made sounds of different pitches. The timbre of the instrument resembled a xylophone. Shavoma (m.), chavoma (e.) - planed smoothly. and drink a composition of pine resin (resin) and hemp oil, birch or spruce resonant. a board cut into wood. with hammers or spoons. The ends of the belt were attached to the edge of the board (sometimes the board was covered with a belt for strength), by 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 (“beater”). Paige (m.), bayaga (e.) - massive wood. board made of oak, birch with rounded edges. angles length OK. 150 cm, wide. 40-50 cm, thick. 12-15 cm. They hung it on a gate installed in the middle of the village on a hillock, and beat it with an oak stick, wood. with a hammer or pestle, notifying residents of important events. Paygonyat (m.), Bayaginet (e.) (shaken idiophone) - metallic. bells, string. on a cord or hanging freely on a frame. According to archaeol. and ethnographic data, the following are known. types of bells: forged, truncated-conical. iron with hemispherical tongue, strong ringing and a rich range of partial tones; hemispherical made of non-ferrous metals with a spherical reed, high register ringing; cylindrical with low sound; oblong shape with indeterminate timbre. The instruments were used in ritual dances, forming a unique timbre-dynamic. polyphony. Baidyama (m.), lyulama (e.) - a rod (stick), on top of the cut a figurine was cut out in the form of a horse’s head and 5-7 bells and rattles were hung from it. Accompanied by various rituals. Tsingoryama (m.), Dinnema (e.) - heteroglottic. 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 primarily. dance melodies.
Among the chordophones, the following are known: gatiyama (m.), gaidyama (e.) - a slightly bent birch or maple board long, widening towards one end. 800-1,000 mm, width. on one end, the Crimea rested on the floor, 120-150 mm, on the other - 30-50 mm. One string, usually made of harsh tar, was pulled onto it. thin rope (thick rope), sheep or, less commonly, vein 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 stretched resin. with a harsh thread they made one low sound. Dance tunes were performed on the instrument in an ensemble with other instruments (puvamo, garzi), where the gatiyama was assigned the role of a bass rhythmic instrument. In an ensemble with a nude, she was tuned to a bagpipe bass tube, 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 There were 3 triangular or round holes on the boards of the instrument. The instrument had 3 horsehair strings and a bow without a hair tension mechanism. It was characterized by a fifth or fifth-octave system. Det. the instruments were 2/3 the size of a regular garzi.
Aerophones are the most numerous. muzzle class. tools. Seasonal ones were made primarily. in the summer from plant stems, tree leaves (strelkasta morama - m.; lopa - m., e.; keluvon givgornya - m.; keel tsyokov - e.; sentien morama - m.; sandeen 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) length. 500-700 mm. Usually 6 vulture holes were cut out on it (vaigal is boiled). Instrument without whistle device. Nyurkhkyanya vyashkoma (short longitudinal flute) with or without 2-3 fingerboard holes and a whistle device. The flute has been known to the Mordovians since the Bronze Age. Sevoneni vyashkoma (m.), keven tutushka (e.) - clay hollow whistle made from fired. clay with or without 2 playing holes in the shape of birds, domestic and wild animals. It was used during calendar and family holidays for intoning program tunes. The instrument has been known since the beginning. 1st millennium AD e. Nyudi (m., e.) - clarinet made of 2 hollow reed tubes, length. OK. 200 mm, dia. 6-8 mm with cutout. on them with long vibrator tongues. OK. 20 mm and 3 finger holes on each barrel. Both tubes were usually mounted in wood. a bed that 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 tint and was distinguished by varied dynamics. It produced extended 2-voice drawn-out melodies and fast dances. tunes. The type of nude existed among the Mordovians in the Middle Ages. 2nd millennium AD e. Fam (m.), puvamo (e.) - bagpipes. There are 2 known species. The first one had 2 melodies. reed tubes, by design and name. matching nudes, and 2 bass tubes for extracting low bourdons. The second - ozks fam (m.), ozks puvamo (e.) - was used at molyans for the performance of ritual tunes. Unlike the first type, it did not have bass bourdons. Polyphons nudi and fem had a great influence on the formation of developed forms of Mordovian folk polyphony. Torama (m.), dorama (e.) - a signaling instrument. Based on manufacturing technology, there are 2 types. The first was made from a birch or maple branch. from 800 to 1,000 mm, the edges were split longitudinally and the core was hollowed out from each half. Then both halves were applied and wrapped with birch bark. In this case, one side of the tube was made wider, the other side narrower. The second type was rings of linden bark, inserted. into each other and sealed with wood glue in the form of an expanding tube. To eliminate gaps, the seams of the tube were doused with varnish. Dl. tool length ranged from 500 to 800 mm. A small cup-shaped recess was made on the narrow side, or in later versions, metal was occasionally inserted. mouthpiece. Both species did not have vocal openings. The sounds of the overtone series were extracted on them. Syura (m.), syuro (e.) - a trumpet made of a bull or cow horn. The mouthpiece was either cut into the shape of a small depression or made from a spool of thread. In the latter case, one side of the coil was ground off, inserted into the hole of the horn, and a recess for the lips was made on the other. The syuro was used as a signaling instrument (by shepherds), as well as a ritual one, supposedly capable of driving away evil spirits.
From ser. 19th century The balalaika and harmonica have entered the life of Mordovians everywhere, borrowings. from the Russians. Lit.:Vertkov K.A. and others. Atlas of musical instruments of the peoples of the USSR. - M., 1963; Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; It's him. Folk musical instruments and instrumental music. - Saransk, 1988; It's him. On some principles of studying musical instruments from archaeological sites of the Volga Finns // Problems of 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 burial grounds). 2. Idiophone amulet (Tomsk burial ground, Zarya village). 3 (a, b, c, d). Paygonyat (m.), Bayaginet (e.), from archaeological sites (a - Chulkovsky burial ground, b - Zarya settlement, c - Elizavet-Mikhailovsky burial ground, d - Starobadikovsky burial ground). 4 (a, b, c). Kaldorgofnemat (m.), kalderdemat (e.). 5. Kalchtsiyamat (m.), caltsyaemat (e.). 6. Shavoma (m.), chavoma (e.). 7. Paige (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 - Piksyasinsky mound, c - older Kashirskoye fortification, d - Shcherbinskoye fortification). 14. Sendien morama (m.), Sendien morama (e.). 15. Kuvaka vyashkoma (m.), Kuvaka veshkema (e.). 16. Vyashkoma (m.), veshkema (e.) (with a whistle device). 17. Sevoneni vyashkoma (m.), keven tutushka (e.). 18. Zunder (m., e.). 19. Nyudi (m., e.). 20. Fam (m.), puvamo (e.). 21. Torama (m., e.), drama (e.). 22. Syura (m.), syuro (e.). |
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Developed types of vocal and instrument. polyphony - 2-, 3-, 4-voice bourdon polyphony (from the French bourdon - thick bass, from the Greek poly, phone - lit. polyphony) - developed on the basis of historically early types (monody type heterophony and diaphony) in the process of development narrow-volume melody of ancient songs and instruments. genres. Bourdon polyphony is inherent in all genre types of lyric poetry. and epic. songs, most instrument genres. music. Melodious. the features of each voice are determined by their relationship with ch. voice - the voice of a song (Moro Weigel - e.). Melodious. The style of the tunes of bourdon polyphony is associated with the melody of the most ancient recitats. style of funeral and wedding lamentations and lullabies, many of which have survived to this day. elements of f.-u. music community. A striking feature of the polyphonic texture is the stable forms of sequences of second-tert consonances. Various techniques of poetic vocalization. text (multi-temporal word breaks, repetition of words, additions, vowels, etc.) are an important element of it. Large composition Single intoned choruses are important.
Nar. music The art of the Mordovians has absorbed certain, mainly. late, style types of Russian. polyphony, manifested in the diverse Russian-Mordovian. 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; Väisänen A.O. Mordwinische Melodien. - Helsinki, 1948. Lit.: Boyarkin N.I. Traditional styles of Moksha-Mordovian polyphony //Finno-Ugric musical folklore and relationships with neighboring cultures. - Tallinn, 1980; Boyarkina L.B. Heterophony in calendar and family ritual Erzya-Mordovian folk songs // Music in rituals and labor activity of the Finno-Ugric peoples. - Tallinn, 1986; It's her. The art of joint singing of the Mordovians of the Trans-Volga region // Folklore in the works of Mordovian writers and composers: Tr. MNIYALIE. - Saransk, 1986. - Issue. 86; Zemtsovsky I.I. Music of the Mordovian oral tradition: monuments and problems // Ibid.
L.B. Boyarkina
Musical and stage works by composers of Mordovia
"WIND FROM THE LOWER REGION" music drama in 2 acts. Music G.G. Vdovin, based on the play by P.S. Kirillov “Litova”, Russian. text by P.A. Zheleznova Libretto by M. I. Frolovsky. Delivered on March 3, 1981, directed by - honorable activist in the Karelian Autonomous Soviet Socialist Republic L.M. Vilkovich music hands and conductor - Frolovsky, choirmaster - honorable. artistic figure in the MASSR E. A. Purilkina choreographer - G.N. Rubinskaya art. - D.S. Cherbadzhi Gl. roles 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, Syreska, Kanev and especially Litov are endowed with expressiveness. music characteristics, and at the climax. moments of action of their intonation. the relationship contributes to the creation of a unified image of the people, revealed in choral numbers. Lit.: Sitnikova N.M. Pages of musical history. - Saransk, 2001.N.M. Sitnikova.
"LITOVA", historical drama P.S. Kirillova. Prototype chap. The heroine is S. Razin's associate Alena Arzamasskaya-Temnikovskaya.
Ch. idea of production - glorification of a strong personality who has overcome slavish obedience and fights for social and national independence. Premiere of the first national plays in Mordovian-Erzya language. took place on March 30, 1939 on the stage of Mordov. state dram theater Dir.-Const. 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 richness. language, the dynamics of dialogue, the individuality of characters. Mn. episodes "L." go back to the national folklore 6 editions known. "L.": 2 prosaic. and 4 poetic ones.One of the poetic variants of “L.” formed the basis for one. national music dramas. Libretto by the author. Music L.P. Kiryukova. The 1st production took place on the music-drama stage. theater 27.5.1943 on Erza. language (1st Ave. at the All-Russian show of performances, 1945). Dramatic ed. A.A. Shorina, text - N.L. Erkaya, instrumentation by L.S. Mandrykina. Dir.-Const. Shorin, conductor Mandrykin, choirmaster Kiryukov, choreographer P.N. Litoni, art. B.I. Roslenko-Rinzenko. Ch. roles played by: Litova - V.M. Berchanskaya-Pogodina, A.F. Yudina Vaska - Kolganov; Varda - honorable artist of the MASSR A.D. Marshalova G. A. Sakovich Syreska - I.P. Arzhadeev; Kaneva - M.M. Fomicheva Tyagusheva; Archilov - honorable art. MASSR I.A. Roslyakov Subsequent productions: in 1959 on Erza. language, director-director IN AND. Knyazhich in the role of Litova - R.M. Bespalova-Eremeeva; in 1969 in Russian. language, director-director Yu. V. Cherepanov in the role of Litova - Bespalov-Eremeev; in 1985 in Russian. language, director-director Ya.M. Livshits in the role of Litova - O.A. Chernova
"L." - the first musical stage performance. produced, created based on national material. The predecessor of the muzzles. operas. It widely presents choral scenes (ritual, play), in which muzzle intonations are used. adv. songs. Musicians are individualized. characteristics ch. heroes Litova and Archilov. Created images, music and decor. the design corresponds to the specific historical era. 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", lyrical-epic. opera in 2 acts (State Ave. RM, 1998). Music M.N. Fomin, libretto by Fomin based on the poem by V.K. Radaev "Siyazhar". On erz. and Russian languages. The plot is based on liberation. fight of muzzles. people in the 16th century under the leadership of the legendary hero Siyazhar. The brightest pages of S.'s music associated with the embodiment of ancient languages in choral scenes. rituals Staged in 1995 at the State Musical Theater of the Republic of Moldova. Music hands and conductor honorable. activist in the Republic of Moldova N.N. Klinov dir. honorable activist in Lithuania G.M. Baryshev choirmaster G.L. Novikova choreographer laureate of Russia. region. choreographer competition 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
"MOKSHA DAWNS" first mordov. operetta. In 3 actions. Music G.V. Pavlova libretto by I.M. Devin and I.P. Kishnyakova lane in Russian language V. Iokara and Y. Kamenetsky. The action takes place in a small town on the banks of the Moksha. The libretto is comedy-satirical. scenes alternate with lyric. Music the numbers were created with the participation of composer K.D. Akimova In the choral episodes, muzzle intonations are used. adv. songs. Delivered Nov. 1974. Dir.-cont. M.I. Klarisov music. hands and conductor V.T. Shestopalov choirmaster V.A. Kuzin choreographers - international laureate. competition A.I. Ivanov and honorable activist in the MASSR E.P. Osmolovsky Gl. roles played by: Foreman Mazukhin - V.P. Yakovlev Liza - A.V. Leonova Lit.: Kalitina N.P. Essays on Mordovian musical theater. - Saransk, 1986.N.M. Sitnikova
"BRIDE OF THUNDER" musical-stage prod. In 1967 on the stage of Mordov. music theater comedy was staged by music. drama in 3 acts. Music K.D. Akimov libretto F.S. Atyanina based on muzzles. adv. fairy tales, in Moksh. language The plot is based on a play-fairy tale about the girl Alduna, whom the Thunder God chose as his bride (see Purginepaz). Aldunya tried to delay the execution of Thunder's will, but he threatened the entire region with drought. Having left her fiancé-shepherd Turgai, she, at the cost of her own. freedom saved the village and the people. Real-life scenes in the play alternate with fairy-tale-fantasy and drama. episodes - with expanded music. scenes, incl. solo, ensemble, choral numbers. The orchestral episodes are colorful and graphic. Dir.-Const. IN AND. Knyazhich conductor M.I. Frolovsky, choirmaster V.A. Kuzin, choreographer V.N. Nikitin thin. E.S. Nikitina. Ch. roles performed by: Aldunya - honored. artist of the Buryat Autonomous Soviet Socialist Republic N.G. Honorable Kochergina artist of the MASSR R.I. Knyazkina Turgai - V.A. Kotlyarov Grom - V.V. Medvedsky, Tucha - R.M. Bespalova-Eremeeva, Priest Kutei -V.S. Kiushkin, Rain - A.P. Kuzin Spectacle was awarded an All-Russian diploma. show of music and dram. performances (Moscow, 1967).In 1990, a new production of “N. G." - opera-ballet in 3 acts. Music Akimova and R.G. Gubaidullina libretto Yu.A. Edelman based on muzzles. Atyanin's epics and fairy tales, in Russian. language The libretto reinforces social motives, the action is more dramatized. Means. place is occupied by people scenes - choral and choreographic: games of young peasants, prayer rituals. The music is expressive and diverse in genre (songs, arias, ensembles, dance variations). Motifs, tunes, etc. were used. muzzle intonations. music folklore Fairy-tale-mythical. the images are created with poignant means and properties. rus. prof. music. Dir.-Const. V.V. Kuchin conductor N.N. Klinov choirmaster E.A. Purilkina, choreographer O.P. Egorov thin. L.A. Alekseeva. Ch. Parts performed by: Aldunya - honored. artist of the Chuvash Autonomous Soviet Socialist Republic L.I. Kozhevnikova M.E. Maksimova, Turgai - honored. art. MASSR V.P. Egorov Ya.P. Khudobljak Elder - A.A. Stryukov E.R. Khakimov Grom - L.I. Gruzinov V.S. Salmanov Molniya - O.V. Gavrilkina L.I. Likhoman
N.M. Sitnikova
"NESMEYAN AND LAMZUR" first mordov. opera in 4 acts. Music L.P. Kiryukova, libretto by A.D. Kutorkin based on his poem “Lamzur”, in Erz. language The plot is based on - Teryushevsky uprising 1743-45. Prod. full of colorful ritual folklore. scenes, episodes that capture people. lamentations and lamentations. Lyric. the scenes are distinguished by original music close to folk. samples. First production - 12.8.1944. Hood. hands and director-director M.G. Dyskovsky conductor L.S. Mandrykin, choirmaster D.D. Zagorulko choreographer L.I. Kolotnev, thin M.A. Zernina B.I. Roslenko-Rinzenko. Ch. Parts were performed by: Nesmeyan - V.V. Markevich Lamzur - A.A. Roslyakova Pumraz - I.M. Yaushev, Vastanya - T.Ya. Sitnikova Erganya - E.A. Okhotina. Means. deficiencies in the libretto made it necessary to rework the production. and a new production (17.5.1947, directed by A.A. Shorin). Lit.: Bassargin B.A., Peshonova V.L. Essays on the history of the Mordovian Soviet theater. - 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. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986.N.M. Sitnikova
"NORMAL" opera in 4 acts. Music by L.P. Kiryukova, libretto by M.A. Bebana, na moksh. language "N." - household lyrical drama. The action takes place in Mordov. village until Oct. revolutions. At the center of the story is the image of the poor peasant girl Normalnya. Musical and stage performances occupy a large place in opera. the embodiment of colorful people. wedding ceremony. Drama and comedy scenes of the ritual are presented by people, as well as by creation. composer based on folk music. traditions with songs and dances. First production - May 19, 1962. Orchestration by A.A. Breninga. Dir.-Const. honorable activist 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 performed by: Normalnya - R.S. Anisimova Pavai - A.F. Guy Myalaga - V.S. Kiushkin, Lekmai - people. art. TASSR and honored art. Kazakh SSR I.V. Zhukov G.N. Ivashchenko Urai - D.I. Eremeev A.N. Lisovsky Saldut -Yu.K. Sobolev Vyazhiai - R.M. Bespalova-Eremeeva. 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. Music G.G. Vdovin, play by Y.V. Apushkin poems by A.I. Polezhaev, libretto by Vdovin, in Russian. language The opera depicts an episode from the life of the democratic poet Polezhaev. The composer used ariatic melody and everyday song forms. Performed in concert version on November 17, 1986. Ch. Parts were performed by: Alexander Polezhaev - honorable mention. artist of the MASSR V.P. Egorov Katya - S.G. Budaeva Colonel Bibikov - N.N. Solodilov Reader - V.V. Dolgov. State Orchestra music theater comedy of the MASSR, conductor - Vdovin. Lit.: Sitnikova N.M. From song to symphony, or Let's listen to music! - Saransk, 1989. N.M. Sitnikova « SORCERER" operetta in 2 acts. Music V.P. Berenkov libretto by V.I. Esman and K.A. Krikorian in Russian. language "Ch." - music-drama story about the department episodes from the life of the sculptor S.D. Erzi. Staged on October 12, 1980 at the Music Theater. comedies. Dir. - honorable activist in the Karelian Autonomous Soviet Socialist Republic L.M. Vilkovich conductor - V.T. Shestopalov, choirmaster - E.A. Purilkina, choreographer - G.N. Rubinskaya art. - honorable activist in the RSFSR and Karelian Autonomous Soviet Socialist Republic V.L. Talalay Gl. roles played by: Master - V.V. Medvedsky, Yu.Kh. Tankidis Woman - Honored. artist of the MASSR L.N. Vysochinenko L.V. Mishanskaya. Lit.: Kalitina N.P. Essays on 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 large op. and are connected by plot, figuratively, and intonationally. In music lawsuit RM V. c. presented in the main lyrical and lyrical-narrative. op. The earliest works: “Songs of Mordovia” in folklore. texts for bass and symphonic orchestra M. Dushsky (1939), 3 songs on lyrics. F. Atyanina for women. voices and piano by I. Sokolova (1958), “Songs of the Native Land” in folklore. texts etc. A. Eskin and P. Gaini for mezzo-soprano and piano by G. Vdovin (1963). In V. c. Vdovin “From Mordovian folk poetry” for contralto and accordion or piano (1970-79) folk texts. songs served as the basis for creating various 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 faces. earth is inherent in V. c. G. Suraeva-Koroleva “Kelgomat Moronza” - “Songs of Love” on lyrics. Yu. Azrapkina (1986) and Gen. Suraeva-Koroleva “I say goodbye to you, village” on lyrics. N. Snegireva (1993). Philosophy understanding life is characteristic of music. embodiment in V. c. Vdovin “Three Monologues” for soprano and symphonic. orchestra on lyrics L. Tatyanicheva (1969) and “Autumn” on the lyrics. L. Talalaevsky (1984). Love lyrics are presented in V. ts. for baritone and piano “Again about you, my love” on lyrics. K. Kulieva (1986) and “Poem T” on lyrics. poets of Mordovia (1988) M. Fomin, “I kiss you” on lyrics. Talalaevsky Gen. Suraev-Korolev, as well as E. Kuzina on the next page. A. Akhmatova (1984) and M. Tsvetaeva (1991), “Three Monologues” by Gen. Suraeva-Koroleva on lyrics. L. Gubaidullina. Citizen-patriotic The theme is characteristic of V. c. S. Ya. Terkhanov: “The Century of My Birth” (lyrics by V. Shamshurin) and “Letter to a Peer” (lyrics by A. Chebotarev, 1970-80s). Dram. the paintings are depicted in the cycle of ballads on the following lines. Y. Adrianov (“Brody” and “Third Position”), song-romance cycle on lyrics. Yu. Levitansky; lyrical sketches - in V. c. on the next A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky (1980-90s). Row V. c. written by Terkhanov on lyrics. A. Pushkin, K. Balmont, sonnets by W. Shakespeare. In the works of composers of Mordovia there is V. ts. 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. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986.N. M. Sitnikova.
JAZZ(English jazz), b. prof. music lawsuit Formed by the beginning. 20th century based on Afro-American. and European music crops In Mordovia, the first pop ensembles arose in the 1950s. Among the musicians, S. A. Beloklokov (accordion) and V. V. Kovrigin (clarinet, saxophone) stood out, as part of a trio or quartet they performed before the start of film shows and in clubs in Saransk and Ruzaevka. They performed classical jazz compositions. In the beginning. 1960s Means. improvisation took a place in concert programs. D. At this time in music. A. V. Batenkov (trumpet, piano), Yu. A. Barsukov (saxophones) and V. A. Pautov (trombone; now Honored Artist of the Republic of Moldova) began to play in groups. Tradition was created in 1963. big band (3-4 saxophones, 3 trumpets, 3 trombones, rhythm section). His repertoire included productions. D. Garland, D. Gershwin, D. Ellington. The orchestra performed in front of a youth audience. The performance of musicians V. N. Vedyasov, V. V. Markin (piano), P. A. Bychkov, V. P. Solovya (saxophones), S. N. Kashtanova, I. P. Popova (trumpet), E. B Sevryukov (clarinet) was distinguished by a precise sense of the specificity of D. and virtuosity. Over the years, the team was led by I. R. Chelobyan, B. V. Kovalev, Batenkov. The orchestra existed before 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 Saransk Music Brass Band. school His repertoire was expanded 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 jazz quintet “Ark-Mainstream”, and then the D.-club. The quintet consists of A. V. Belyanushkin, P. V. Lamkov (saxophones), S. V. Guly (double bass), A. A. Knyazkov (drums). The ensemble performed in Russia. jazz festivals. In 1999, on the initiative of V.I. Romashkin and Kurin, the group “Torama-jazz” was formed, which performed in Poland, Finland, and Estonia. Performs production ethnic D. In 2002, the 1st international was held in Saransk (for the first time in Mordovia). festival of jazz music “Veise-jazz”, in which the reps. ensembles, famous in Russia. performers Garanyan, D.S. Goloshchekin, ensembles from Hungary and Russian cities, including Moscow, St. Petersburg, N. Novgorod, Samara.Intonation-rhythm. and harmonious D. uses the means in his vocal and instrument. works of G. G. Suraev-Korolev (vocal cycles, concert for piano and orchestra, sonata for piano, preludes-improvisations). Lit.: Veise-jazz - 2002: 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 becoming a prof. music of Mordovia, composers turned to pieces for violin. Among them are 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 they created op. for various symphonic instruments. orchestra: sonata for solo cello by G. G. Vdovin (1964), sonata for solo flute (1981) and solo bassoon (1987) by N. N. Mitina, 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 4 hands (1990) by N. I. Boyarkin, pieces for flute and piano (1992) and viola solo (1993) D. V. Buyanova Prod. large form, separate miniatures, as well as cycles of pieces, were written for piano (see Piano music). Suraev-Korolev first turned to the string quartet genre - the 1st String Quartet (E minor, 1961). It organically uses and develops various melodic, harmonious, and metro-rhythmic sounds. means, communications from tradition Mordov. music. His 2nd quartet (1986) is dedicated to the memory of L.P. Kiryukov. At the heart of the music. language of the string quartet by N.V. Kosheleva (1975, at 2 hours) is also an original national. music material. In Vdovin’s work, the string quartet genre received a multifaceted and constructively original interpretation: suiteness as a formative 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 New polyphonics for the music of Mordovia are used. forms and techniques inherent in early (12-13 centuries) Europeans. samples, but in modern times. mode-linear refraction. In string quartet No. 3 (1989), 5 hours form a ronda-shaped cycle, in quartet No. 4 (“In Memory of A. A. Nesterov,” 1999) it concludes. The episode is reminiscent of the Orthodox Church. funeral service, which was facilitated by figurative and emotional. development of the idea. In the 1990s. search for individualized will express. funds within the boundaries of their own. thin style is characteristic of chamber ensembles and other composers of the republic. Classic polyphonic forms are used in 3 fugues for string quartet (1993) by Kosheleva. The composition of the Buyanov Quartet (1998) - violin, viola, cello, piano, music. in the language of a one-part composition - reliance on avant-garde means (sonority, pointillism). String quartet by G. G. Suraev-Korolev “Dedication to E. Grieg” (2000) - stylization of the Norse. hallinga dance Ensembles for wind instruments are presented in the Mordovia Musical Theater. G.V. Pavlov was the first to turn to such a composition (in the 1960s). In 1979 Mitin wrote a quartet (flute, clarinet, horn, bassoon) in 3 hours, music. The images are full of scherzo intonations and rhythms. Several pieces for different 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). Kosheleva's work includes 3 fugues for wind quartet (1995). Lit.: Folk singers and composers of Mordovia. - Saransk, 1975; Makarova A.I. We are waiting for new premieres // Sov. music. - 1985. - No. 7; Boyarkin N.I. The 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 and properties. folk traditions The first creator of such products. was L.I. Voinov (see Temnikov Orchestra of Russian Folk Instruments). For the balalaika he wrote “Mordovian Dance” (1947), a fantasy for 2 muzzles. themes (1948) and concert variations with piano accompaniment (1964), 1st concert for balalaika and orchestra Russian. adv. instruments (1945) and the 2nd concert for balalaika with symphonic. orchestra (1951). For the finished button accordion they composed: G.G. Vdovin (2 preludes, 1961; “Musical Moment,” 1970; cycle “Five Evanescence,” 1972), N.N. Mitin (“Scherzo”, 1982); ready-made accordion - Vdovin (sonata in 4 hours, 1974; “Elegy”, 1986), G.G. Suraev-Korolev (Prelude, 1998; “Three Moods”, 1999); for ready-made button accordion and string quartet - D.V. Buyanov (“Fantasy based on Salvador Dali”, 1999).Express. capabilities of the Russian orchestra adv. instruments are related to its composition. Among the products - both small plays (“March on Mordovian Themes” by Voinov (1964), 2 pieces for orchestra (1964) and “Mordovian Dance” (2002) by Vdovin), and productions. large form: 2 multi-part suites by Voinov - 1st, “Forest Scenes” (1926) and 2nd (1951), “Chunes” (1975) Vdovina, suite (1986) N.V. Kosheleva “Temnikovskaya” (1990) Mitina. Other music forms were used by Voinov in the overtures “35 Years of October” (1952), “The Year of 1917” (1961) and by Vdovin in “Sinfonietta” (1988). M. for r. n. And. composed and self-made. composers of Mordovia: V.M. Kislyakov - 4 suites for orchestra and concerto for accordion and orchestra; known processing of Nar. melodies for accordion (authors: A.P. Putushkin, V.I. Strokin and V.A. Beloklokov). Texts: Concert pieces for 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 words, scenic. action and music, which is ch. a means of embodying content and a driving force of action. In Mordovia, attempts to create a national O. were undertaken in the end. 1930s (“Kuzma Alekseev”, music by V.K. Aleksandrov libretto by Y.P. Grigoshin; “Ermez”, music by D.M. Melkikh based on the production by Y.Ya. Kuldurkaev; not finished and not staged). Large musical stage production, which became the first step towards the creation of O., became music. drama L.P. Kiryukov “Litova” (1943). In 1944 the 1st National Society was created. O. “Nesmeyan and Lamzur”, in 1962 - “Normalnya”. Epic. Kirillov's poem "Litova" received a new music. embodiment in music. drama by G.G. Vdovin “Wind from the Ponizovye” (1981). Against the backdrop of long-standing historical events, pictures of the life of the Mords unfold. people and lyrical scenes in O.M.N. Fomina "Siyazhar" (1995). Mythological the plot is captured in the musical stage. performance “Bride of Thunder” (O.-ballet, 1990). In other musical and scenic prod. composers of Mordovia turned to different themes. Interesting is the experience of creating an O. for soloists, choir and orchestra of Russian folk instruments “The Tale of the Priest and His Worker Balda” (based on the production of A.S. Pushkin by L.I. Voinov (1924). Vdovin is the author of the lyrical 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 the O. of the same composer, "Stepson of Fate" depicts an episode from the life of A.I. Polezhaev (1986). Modern musical means .pop music is characterized by rock shows - O. G. G. Suraev-Korolev “What is happiness?” (1990, libretto by L. M. Talalaevsky Works by G. V. Pavlov (“Moksha Dawns”, 1974) were created in the operetta genre ), Vdovina (“The Main Role”, 1978), V.P. Berenkova (“The Magician”, 1980). On the stage of the State Musical Theater of the Republic of Moldova, the musical fairy tales of N.V. Kosheleva “Silver Lake” (1989), E. V. Kuzina “Once upon a time there was a Bunny" (1997). Lit.: Druskin M. Issues of musical dramaturgy of opera. - Leningrad, 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. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. Pages of musical history. - Saransk, 2001.N.M. Sitnikova
ORATORIO large music prod. for choir, solo singers, symphonic orchestra. Intended for concert performance. As a rule, it consists of several. parts (choirs, ensembles, solo numbers), in which dramas are embodied. plot, themes of society. sound. O. is characterized by narration and epicness. In Mordov. music Art was the first to turn to the genre of O. G.I. Suraev-Korolev. Op. “The Last Judgment” at 6 hours (own libretto, 1973; State pr. MASSR, 1973), contains. the call to fight for peace has great emotional power. impact. It combines philosophy. generalization and figurative specificity (the author’s definition of “fantastic oratorio” is supported by the introduction of symbolic images into the libretto - Mother (Earthly Love), Voice of Freedom, World Judge, as well as ballet episodes). The first performance took place in 1974 (choir and symphony orchestra of the Saransk Music School, conductor N.I. Boyarkin, choirmaster A.Ya. Levin, soloists R.M. Bespalova-Eremeeva, R.N. Isaeva T.I. Tyurkina N.A. Madonov, R.I. Knyazkina In O. “Song of Military Glory” for mixed choir, reader, soloists and symphony orchestra in 5 hours 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 the O. are often performed in concerts. The entire production was performed in 1989 (choirs of the Saransk Music School and Rep. children's music boarding school, soloists L.A. Kuznetsova, V.P. Khudobljak, 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, basic. will express. the means of which is a combination of melody and text. There are people. (see Mordovian folk vocal music) and the author's prof. and amateurs. (see “Drops”) P., i.e. prof. and amateurs. 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 Mordov. copyright P. belong to L. Kiryukov (1940s). In the 1950-60s. G. Pavlov and G.I. turned to the genre of P. Suraev-Korolev, in the 1970s - G. Vdovin (the intonation system is characterized by a combination of Mordovian musical folklore and Soviet music). Since the 1980s N. Kosheleva, E. Kuzina, N. Mitin, G.G. work in the genre of P. Suraev-Korolev, S. Terkhanov. Composers of Mordovia created approx. 400 P.; the majority are based on the words of Mordovia poets in Moksh., Erz. and Russian languages (F. Atyanin, A. Gromykhin, I. Devin, A. Doronin, A. Ezhov, R. Kemaikina, S. Kinyakin, M. Moiseev, N. Mokshin, V. Nesterov, A. Pudin, K. Smorodin, Yu. Sukhorukov, M. Uezdin, P. Chernyaev, N. Erkay, etc.). It was creative. community of poet and composer: L. Talalaevsky - Vdovin, N. Zadalskaya - Kuzina, E. Sadulin (N. Novgorod) - Terkhanov. Mn. composers themselves write P.'s texts.The themes of P. are varied. Patriotic themes occupy a special place in the songwriting of Mordovia composers. P.: “Blossom, my country” by Kiryukov (lyrics by D. Uraev), “Our land, Mordovia” by G.I. Suraev-Koroleva (lyrics by P. Gaini, authorized translation by B. Sokolov), “Mordovia” by Vdovin (lyrics by I. Kalinkin), “My Mordovia” by Kosheleva (lyrics by M. Troshkin), “Hail, Mordovia!” G.G. Suraev-Korolev (lyrics by the author), “Sunrises over the Moksha River” by Kuzina (lyrics by Zadalskaya), “Poem about Mordovia” by Terkhanov (lyrics by the author). Teme Vel. Otech. war and the defense of peace are dedicated to P. “For Peace” by Kiryukov (lyrics by A. Martynov), “Roslavl Red Banner” by G.I. Suraev-Korolev (lyrics by N. Aleksandrov 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 (lyrics by the author), “Song of the Mother” by Mitin (lyrics by Talalaevsky), “Brides who did not become wives” by Kuzina (lyrics by L. Tatyanicheva), “Ballad of Dreams” by Terkhanov (lyrics by the author). The most common. among mass and pop music: lyrical. - “Panzhi lime poras” - “When the bird cherry blossoms” by Kosheleva (lyrics by I. Devin), “Oh, little muzzle” by G.G. Suraev-Korolev (lyrics by Yu. Azrapkin), “Russian Blonde” by Pavlov (lyrics by A. Malkin), “You’re Leaving” by Terkhanov (lyrics by V. Sosnora), “Plea” by Kuzina (lyrics by T. Kuzovleva); on the theme of love for mother and maternal love - “Tutyu-balyu” by Kiryukov (lyrics by F. Atyanin), “Daughterly love” by Kosheleva (lyrics by Chernyaev), “Sembodonga mazynyai” - “The most beautiful of all” by Kosheleva (lyrics by S. Kinyakin ), “Mom's Hands” by Mitin (lyrics by Talalaevsky), “Mama” by Terkhanov (lyrics by the author); P. about children and for children - “Kafta Ezhuft” - “Two Sly Men” by Kosheleva (lyrics by V. Mishanina), “What is kindness?” Terkhanov (lyrics by Sadulina), “Listen to the music of heaven” by Kuzina (lyrics by Zadalskaya).
P. composers of Mordovia are performed by soloists of the Mordovia State Philharmonic 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. Semenov, N. Spirkina ), as well as amateurs. artists. G.G. Suraev-Korolev, Kuzina, M. Fomin often present their music themselves. CDs (audio) have been recorded: “Modern choral music of composers of Mordovia”, “Panzhi laime poras” (“When the bird cherry blossoms”) by Kosheleva, “Our meetings” by Kuzina, “My Shores”, “Islands of Childhood” by Terkhanov.
Self-made. composers create music for performers. 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; School years are wonderful. - Saransk, 1988; With a song through life. - Saransk, 1989; Kosheleva N.V. Hear my song. - Saransk, 1994; Odinokova T.I. Mordovian music in elementary school. - Saransk, 1994; Moksherzian morot. - 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. is characterized by appeal to internal. human world, poeticization of personal feelings, psychological. depth. The melody, more than in a song, is connected with the text, reflecting all the nuances of the mood. The synthesis of music and words can manifest itself in melodious recitation and an extended vocal line of an operatic type. Express. What matters is the accompaniment (usually piano). Genre varieties of poetry: ballad, elegy, dramatic. scene, etc. R. are often combined into vocal cycles.In prof. music of Mordovia R. appeared in the 20th century. Melodic-harmonic. means of a number of samples are associated with folk. traditions (see Mordovian folk vocal music). Composers turn to the poems of poets of Mordovia, classical, modern. rus. and Western-European poetry. Texts - in Russian, moksha, erz. languages. The first R. are recorded in the works of M.I. Dushsky (“Despair” to lyrics by A.I. Polezhaev, 1938, etc.). In R. last. decades, a wide range of images and musical expressions have been captured. means: lyrics of bright love feelings - in R. L. P. Kiryukova on lyrics. F.S. Atyanina “Ilyaden Moro” - “Evening Song” (1958), G.I. Suraeva-Koroleva on lyrics. I.N. Kudashkina “Tell me, my only one” (1993), S.Ya. Terkhanov on lyrics. T. Sidorova “I like being yours”, I.G. Ehrenburg “So wait...” (1997); bright emotionality and developed piano part - in R.I.V. Sokolova on the lyrics. Suraev-Korolev “Mon Lisyan” - “I’ll come out” (1958), G.G. Vdovina on the next P.U. Gaini "Sonnet" (1963); the state of mental self-deepening is reflected in R. Terkhanov’s “I am a leaf” on the next page. N. Shumak (1994), 2 “Sonnets” on lyrics. W. Shakespeare (1998), D.W. Buyanova on the lyrics. A.A. Tarkovsky “Candle” (1991), own. sl. “Prayer”, “Your Look”, (2002). Often in lyric. In the narration, images of nature are in harmony with a person’s mood: R. Suraeva-Koroleva on the lyrics. A.S. Pushkin “To the Sea” (1940), Sokolova on lyrics. Atyanina “Tunda” - “Spring”, “Syoksen Mora” - “Autumn Song”, “Cranes” (1958), Vdovina on the lyrics. E.A. Yevtushenko’s “Autumn” (1973), “White Snow is Falling” (1981), Pushkin’s “October has already come...” (1998). In the genre of vocal ballads written by R. Terkhanov on lyrics. Y. Andrianova “Fords” and “Third Position” (1986), R. Romanova “In the field, in the open” (2002). In vocal productions. G.G. Suraeva-Koroleva (“Forgive” to lyrics by E. Naumova, 2000, “Come” to lyrics by Yu. Azrapkin, 2002), E.V. Kuzina (“Let’s talk to you” to lyrics by N. Zadalskaya, 2002) R. acquired the features of a modern one. pop song. Stylistic proximity to Russian household R. - in op. “I can’t forget” N.V. Kosheleva on the next line A.N. Terentyeva (1981). R. composers of Mordovia are included in the repertoire of soloists of the Mordovian State Philharmonic and the State Musical Theater of the Republic of Moldova.
N.M. Sitnikova
SYMPHONIC MUSIC, music, intended for performing symphonic orchestra; the most means. and a diversified instrument area. music, coverage large multi-part compositions with complex figurative and thematic themes. content and short plays. Characteristic genres: symphony, symphonic. poem, suite, concert, overture. In the Republic of Moldova, the first samples of S. m. were created by M.I. Dushsky - 2 suites for symphonies. orchestra (1938, 1939). In them the composer, following the traditions of Russian. classic music, realized his idea of mordov. region, using the melodies of certain people. songs and tunes for colorful timbre and intonation. variations. In 1958 L.I. Voinov wrote the symfonietta at 3 o'clock; in the 1960s G.V. Pavlov - 2 overtures for symphonies. orchestra, where marching dance predominates. facilities. Definition The theme distinguishes the “Anniversary Overture” by G.G. Vdovina (1969). The turning point in the creation of S. m. was the end. 1960s - early 70s For her op. The search for new expressions was typical. funds, enrichment traditions and achievements of modern times. European and Russian music culture. The beginning of this stage was the creation by Vdovin of the 1st symphony (1968), the first in the history of Mordov. music (diploma of the All-Union Contest of Young Composers, 1969), it is distinguished by figurative and psychological. depth, laconicism; His 2nd symphony (1972) is characterized by the lyricism of landscape and mood, cheerful buffoonery; 3rd Symphony (1989) - dram. 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 his predecessors. N.N. Mitin is the author of 2 large one-movement symphonies. productions: symphonietta (1979) and symphony “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 brevity, minimization of thinness. techniques are characteristic of a symphony in parts 2. D.V. Buyanova (1996).From the end 1980s Composers of Mordovia are actively turning to the symphonic genre. poems. First Op. this kind of - symphonic. poem “Erzya” by E.V. Kuzina (1988), touching on. the topic of personality in litigation. For symphonic poems by S.Ya. Terkhanov (1991) is characterized by the opposition of muses. symbols of good and evil, originality of the orchestral composition (vocal parts, children's choir, organ). Symphonic poem by G.G. Suraev-Korolev’s “Call” (1999) is defined by the author as “a mood for a symphony orchestra”, “Light and Shadow” (2000) is a colorfully bright painting, “Symphony of Novels” (2001) is a kaleidoscope of diverse episodes. In the concert for symphonies. Kuzina's orchestra (1992) are revealed in a colorful and expressive way. capabilities 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 the Mords. people (see Alena Arzamasskaya-Temnikovskaya), a specific programmatic idea is characteristic of her symphony. suite “Women's Portraits” based on sculptures by S.D. Erzi (2001). Tool. sketches in “Suite based on sculptures by S.D. Erzi” 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. The 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. areas tool. music, coverage large multi-part productions (sonatas, concertos) and small plays of various contents. In the works of composers of Mordovia, fm became widespread in the 2nd half. 20th century An important feature of its originality is the implementation of song and instrument traditions. Mordov. folklore in forms and genres of classical, modern. Western-European and Russian music. For the basis of music. The material is often taken from folk. source. The first means. op. in the field of F. m. - fantasy (in the original edition - variations) on the theme of muzzles. adv. songs “Roman Aksya” - “Romanova Aksinya” (1959) G.I. Suraeva-Koroleva. The line of concert pianism is continued in major productions. G.G. Vdovina - 2 sonatas (1971, 1983), fantasy (1973), ballad (1991), cycle “Preludes and Fugues” (2003); I.V. Sokolova - concert variations on muzzles. adv. songs (1974-86); E.V. Kuzina - toccata (1983); G.G. Suraeva-Koroleva - toccata (1984), sonata (1986). Small-form plays, varied in mood and content, were presented for the first time in the works of L.P. Kiryukova, in the cycle “Eleven Piano Miniatures” (1959-62; Saransk, 2003), c. including prelude, scherzo, elegy. Among the production, creation. later, “Ten Preludes-Improvisations” by G.G. Suraev-Korolev (Saransk, 1994), preludes by N.N. Mitina, dept. plays by Kuzina, M.N. Fomina. Means. part of the f. m. is made up of 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), cycle “Portraits” (2003), S.Ya. Terkhanov - “Waltz-Vision”, “Random Motif” (1995-2000). F. m. for children is diverse in terms of genre (from songs, dances, marches to variations and sonatinas), presented. in collections and cycles: 8 easy pieces for piano (1966), 5 very easy pieces for piano (1971) Vdovin; 40 etudes (1973-75), “Mordovian pictures: 60 plays and etudes” (1974), 18 sonatinas (1980) by Sokolova; “Sketches” (1980), “Forest Tale” (1999) N.V. Kosheleva; “Our Day” (1982) by Kuzina; 20 pieces for piano (1989), 4 pieces for piano (1990) N.I. Boyarkina; “Funny Pieces” (1998) G.G. Suraeva-Koroleva. Prod. for children, created E.V. Lysenkova Terkhanov, D.V. Buyanov is an amateur. composer M.I. Volkov on folk. basis, and their original op. They are also attracted by the emotionality and concreteness of the 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 which bright youthful moods predominate, and the music is based on. language - intonation of muzzles. adv. songs. Concerto for piano and symphony. orchestra G.G. Suraev-Korolev (1988; Komsomol Ave. Mordovia, 1988) is distinguished by a combination of muzzle elements. folklore and classical jazz, a variety of piano techniques. F. m. composers of Mordovia are included in the concert repertoire. Russian pianists, music teachers. universities, schools, schools of the republic, educational institutions. programs. Texts: Children's plays by composers of Mordovia. - M., 1987; Pedagogical repertoire for piano by Mordovian composers: In 2 hours - Saransk, 1989 - 1990; Piano music of composers of Mordovia: At 4 o'clock - Saransk, 2000 - 2003. Lit.: Olzoeva S.G. Moksherzyan piano musician kasoman kinze // Syatko. - 1987. - No. 2.N.M. Sitnikova S.G. Suraeva-Koroleva.
CHORAL MUSIC, music, intended for choral performance. Exists as adv. (see Mordovian folk vocal music, Mordovian folk polyphony), and prof. Basic genres: arrangements of folklore songs, choirs and choral songs, cantatas and oratorios, concerts, ballads, choral numbers. In Mordovia, the first to produce. Oil paintings are the processing and arrangement of muzzles. adv. songs of the 1930-40s. L.P. Kiryukova, D.M. Melkikh B.M. Troshina S.V. Evseeva M.I. Gracheva G.G. Lobacheva. The development of this genre can be traced in the creative process. translation of the features of folk song performance and its polyphonic forms into production. G.I. Suraeva-Koroleva (“Vir chirese” - “At the edge of the forest”, 1963; “Alyanyatse veshentyanza” - “Father is looking for you”, 1964), G.G. Vdovina (“Nikanoron Rolling” - “Nikanorova Katya”, 1964; “Od Tsera” - “Young Guy”, 1993), N.I. Boyarkin (“Raujo of the Sea” - “Black Sea”, 1978; “Yoru-yoru”, 1989), etc. In the 1990s. processing appeared in Russian, Mar., Udm., Finnish, Karelian. songs by Vdovin and Boyarkin. Spiritual heritage of the ethnos, features of the national. character and thin. imagery is captured in op. “Sura langso” - “On Sura” (1965, lyrics by N. Erkaya), choral variations on the theme “Koso, shenzhe, udat-ashtyat” - “Where, duck, do you spend the night and live” (1979) Suraeva-Koroleva, “ Kalyada" (1992, lyrics) by Kosheleva, in a choral fantasy on the theme "Harmony" - "Birds" (1994) Terkhanov 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) by Suraeva-Koroleva, “Shachema land” - “Native land” (1995, S. Kinyakina) by 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 themes are diversified in op. N.N. Mitina (“The Tale of the Mother”, 1975, lyrics by Y. Smelyakov; “Oh, Rus'”, 1996, K. Smorodina), Vdovina (“Obelisk”, 1971, V. Lessig), Terkhanova (“The Silence of Silence”, 1996 , E. Sadulina), Kuzina (“With victory, native country”, 2001, lyrics by S. Lugovsky), etc. In the 1980-90s. the choral culture of Mordovia was replenished with examples of sacred music, including “Vai, Jesus” (1983, lyrics by V. Nesterov), “Alyanke min” - “Our Father” (1992, trans. V. Mishanina) by N.V. Kosheleva; “Kaigi Val” - “Sounding Word” (1990, A. Pudina), “Kirvastyan Shtatol” - “I’ll Light a Candle” (1991, A. Arapova) by Boyarkin; triptych on spiritual texts (1992) by Terkhanov; 3 Psalms (1994) D.V. Buyanova For expanded choral canvases of the 1980s-90s. characteristic reflection of acute social those, internal of the human world: “Bells” (1988, lyrics. B. Sokolov), “Three etudes-pictures” (1989) by Vdovina, “The truth is dangerous in Rus'” (2000, lyrics by Sadulin) Terkhanov and others. Cantata-oratorio creativity is represented by works: Kiryukova - “30th Anniversary of October” ( 1948, lyrics by Gaini), “Ode to Pushkin” (1949, Gaini), “Celebrate the anniversary” - “Today is a holiday - anniversary” (1950, I. Krivosheeva), L.I. Voinova - “Native Land” (1957, Erkaya), Suraeva-Koroleva - “The Last Judgment” (fantastic oratorio, 1972, author), Vdovina - “Lenin minek yutkso” - “Lenin among us” (1969, poets of Mordovia), “Erzya. Three sketches from life" (1976, L.M. Talalaevsky Kosheleva - "Mordovian Songs" (1978, Nar.), "Song of Military Glory" (1985, Pudina), Mitina - "Youth of the Country" (1980, P. Lyubaeva and V. Yushkin), “Victory Wreath” (1985, Talalaevsky), Kuzina - “Rebel Song” (1987, Talalaevsky), Terkhanov - “The People's Soul Keeps” (1990, lyrics by Yu. Popkov), etc. In the end. In the 20th century, new genres of painting appeared: “The Ballad of the Corporal and the Maiden of the White Reach” (1993, lyrics by T. Kibirov) by Vdovina, concert for choir and baritone (1995, lyrics by N. Ruzankina) by Kuzina. lives are captured in vocal and choreographic samples: “Rural Street” (1966, lyrics by Gaini), “Roman Aksya” - “Romanova Aksinya” (1985, folk) by Suraeva-Korolev, “Mordovian Wedding” (1980, script by V. Irchenko) Kosheleva, “Tateren piya kudo” - “House of Maiden Beer” (1985, script by V. Bryzhinsky) Vdovina National coloring, bright melodicism, textural-variational development are inherent in choirs in musical and stage works: music. drama “Litova”, operas “Nesmeyan and Lamzur”, “Normalnya” by Kiryukov, music. the drama “The Wind from the Ponizovye” by Vdovin, the opera “Siyazhar” by M.N. Fomina.Oil paintings by 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”, and the Mordovian choir. state University, choirs of the Moscow State Pedagogical Institute named after. M.E. Evseviev Saransk Music School, Children's Music School, as well as amateurs. groups and ensembles.
Prod. composers of Mordovia are included in the repertoire of famous groups in Russia, including the Bashkir Academician. chamber choir, Mar., Udm., Chuvash., Magnitogorsk, St. Petersburg academic. choir chapels, Omsk, Ryazan people. choirs, choral groups 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. The 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 dance forms. plastic arts, staging ballet performances and dances. H. and. Mordovia went through 2 stages in its development. Until sep. 1930s preim. there was a popular choreography. In traditional dance movements that have survived to this day, a number of positions of the arms, body, legs, and connections have been preserved. with ancient prayers (appeal to the supreme deities, the sun), with labor processes (winding threads, spinning, knotting, weaving, rinsing, embroidering, etc.). A series of dances. will express. means reproduces tradition. national symbols: bear, horse, duck, drake, lark, birch, blooming apple tree. National vocabulary The dance consists of various types of steps, moves, strikes, fractions, tapping, dismounts and jumps, various turns and rotations. Mordov. adv. choreography (round dances, dances, pantomimic reproduction of various events and images), timed. to ritual and festive events, was symbolic. reflection of human life. Childbirth, as well as the growth of cereals and technical products. cultures were dedicated to special erotic dancing and pantomime. actions of costumed women during the wedding and farewell to spring (Tundon iltemat - e.). At the festival of the first furrow (Keret ozks - e.) with the help of rhythmic. dance movements depicted cultivating the land and sowing crops. In connection with the completion of the harvest, scenes were performed with the participation of various characters. On days of mass community prayers (Velen ozks - e.), using pantomime and definition. verbal formulas, worshipers communicated with the deities, and youth round dances accompanied by violin and bagpipe tunes expressed joy on this occasion. Various plastics funds were used during erz. the holiday “Tateren piya kudo” (see Teiteren piyan kudo), where there were dance competitions between girls and boys, girls and elderly men; wedding episodes were acted out using pantomime (wedding threesome, bear dance, seeing off the bride), multi-figure ornaments were composed on the fly. compositions using non-silent characters as characters. sheaves of the new harvest. During the herding of the herd, dances were performed to the sounds of a shepherd's horn or nudi, exalting them. livestock The winter youth festival, held on Christmastide (m. Roshtuvan kudo, e. Roshtovan kudo), was replete with energy. humorous and satirical. dance episodes. Their organizers were the mask of Roshtov Baba (Grandmother Christmas) and the Karyats (hari, lichins) led by her. In the evening at this time they held round dances of lanterns, symbolizing. “roll call” of the starry sky and the supreme patrons with those living on earth. Pantomime, rhythmic the dancing was accompanied by special ritual actions, with the help of which they reflected the fight against epidemics (e. staka mor ozks “prayer for severe pestilence”), agricultural pests. cultures (e. tsirkun ozks “praying from locusts”), asked to return strength to the earth (e. verge ozks “praying at the boundary”). Choreography occupied a special place in funeral memorials. rituals of the Mordovians (pantomimic struggle of an elderly woman with a death mask, funeral round dance at the grave during the ceremony Wedding kulozen lems (e., “Wedding for the deceased”). Dance-pantomimic scenes (depending on their content and character) were accompanied by the corresponding ... musical instruments. Violinists and bagpipers took part in mass festive events and in some prayers, nudists were invited to winter youth games. Various percussion instruments were also used in ritual actions (calchtsiyamat, shavoma - m.; kaltsyaemat, chavomat - e.; see Mordovian folk musical instruments), frying pans, basins, stove valves. Of the numerous choreographic actions in the past in modern Mordovian folk art (festive or stage), there are mainly wedding dances and dances performed on various occasions (m "Levzhan Kshtima" - "Levzhenskaya Plyasovaya", metro station "Ilyanaz" - "Lyon", etc.).A new stage in the development of choreography is associated with the process of formation of national dances. prof. lawsuit (1930s). Young people who came to Mordov. theater. studio (see Mordovian theater studios) from Erza. and moksh. villages and villages of Russia, brought the movements and rhythms of their villages into the dance. From disparate elements gradually created integral dances. paintings. At the concert, dedicated. To the Extraordinary Congress of Mords. people (1937), nat. group of music artists theater (G. Vdovin, M. Devyataikina, S. Ryabova, E. Tyagusheva, A. Shargaeva) was first performed by prof. Erz. dance "Kenyarks" ("Joy"). At first it was systematic. studying and recording folklore Choreography is based on Mordov. choir chapel (1939, director P.P. Yemets; later the ensemble “Umarina”). The group performed a stage performance. variants of round dances, then plot dances on a wedding theme (composer L.P. Kiryukov) and vocal and choreographic. composition “Luganyasa kelunyas” (m., “A birch tree in the meadow”). During Vel. Otech. During the war, the ensemble, divided into brigades, performed solo and duet pop dances (dancers V. Argentov, S. Vasilyeva, F. Goryachev, S. Makarov). In the beginning. 1950s in dance The repertoire of the ensemble (the choreographic group was replenished with dancers from the abolished Opera and Ballet Theater and various groups of Russia) included plot dances (“Come on leave to your native collective farm,” “Mordovian Dance”), dance. suites with Kiryukov’s choir (“Harvest Festival” and “Collective Farm Wedding” - dances of the bride and her friends, the groom and his friends, the matchmaker and the matchmaker, round dance of guests), etc.
In the 1960-70s. national The group's repertoire began to receive more serious attention. The works of choreographers D. Bakharev, V. Zhestkov, V. Kuznetsov, E. Tarakhovsky, varied in plot, light in mood, revealed the worldview of modern times. person. The language of choreography has become more dynamic. The dances were full of stunt elements (“Bizarre fun”, “Rural pictures”, “Let’s dance”, “Funny fun”, “We live by the Volga”, “Erzyan women on a bench”, “Tractor plows”, “Into the forest for berries” ). Most of them were combined into vocal-choreographic. suite “The Four Seasons” (1966). Songs and dances, the basics, were successful. on the traditions of the people art: “Seeing off the Bride” (music by I. Ignatov, lyrics by M. Beban), “Moksha Flows”, “Umarina” - “Apple Tree”, “Holiday in the Surye” (V. Beloklokova, lyrics by P. Gaini ), “Levzhenskaya Dance” (music by Beloklokov, staged by Bakharev). Since 1984, with the arrival at Umarina, art director. hands S.V. Balabana nat. The themes of the dances have become more diverse. The study of the ritual and festive culture of the Mordovians and the existence of people in it. dance plasticity contributed to the creation of numbers that became plural. years the basis of the ensemble program: e. “Tundon Vastoma” - “Meeting of Spring”, “Erzyan Odirvat” - “Erzyan Brides” (music by N. Boyarkin, staged by M. Murashko), “Ovto Marto Nalksemat” - “Games with a Bear”, “Guline” - “ Dove”, “Seleka” - “Drake”, “Vir Tavlan nalkshket” - “Podlesno-Tavlinsky toys”, “Kolmo atinet dy veike teyter” - “Three old men and one girl” (music folklore, production by G. Galperin) 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. Folk contributed to the choreography. collective "Kelu" (organizer and 1st director G.I. Suraev-Korolev, choreographer V. Uchvatov). Its choreography was composed by ch. arr. dancing with. Levzha, where the muzzle is quite fully preserved. (moks.) rituals, as well as dance. music and dances performed in various languages. festivities (“Zerezenkay”, “Nastu” - “Nastena”, “Kelu” - “Birch”, “Ofta atya” - “Old Bear”, “Postufon Mora” - “Shepherd’s Song”, etc.). On their basis, a number of dances were created: “Alyan kshtima” - “Men’s Dance”, “Silence Uryadama” - “In the Haymaking”, round dance “Kelu”, “Levzhan Stirht” - “Levzhen Girls”, etc.
Development of Prof. theater. The choreography of Mordovia was facilitated by the activities of L.I. Kolotneva. His choreography in the first national. performances “Litova” (1943) and “Nesmeyan and Lamzur” (1944) Kiryukova, distinguished by mass production and precision, became an example of creativity. transfer of national dance language in prof. art (national dances “Paksya Ozks” - “Festival of the Consecration of the Field” and “Kishtema” - “Dance”). For the further development of the theater. choreography was influenced by the reorganization of dramas. theater in music and drama (1958) and the arrival here of choreographic graduates. school of the country. In the choreography of music. performances revealed a variety of directions and styles of choreographer's art. Contribution to the theater. choreography of Mordovia of the 1960s - early. 1990s contributed by choreographers: V.V. Chizhov (“Rigoletto” by G. Verdi, 1960; “Eugene Onegin” by P. Tchaikovsky, 1961; “Rusalka” by A. Dargomyzhsky, 1962), V.N. Nikitin (“The Gypsy Baron” by I. Kalman, 1965; “The Bat” by I. Strauss, 1966; “The Thunder Bride” by K. Akimov, 1967), laureates of the international. choreographer competition A.B. Ivanova and E.S. Osmolovsky (“Silva” by Kalman, 1973; “Polar Star” by V. Basner, 1974; “Miss Ellie is getting married” by F. Karaev and L. Weinstein, 1974; “Moksha Dawns” by G. Pavlov and Akimov, 1974), E. TO. Dementyev (“Cinderella” by A. Spadavecchia, 1977; “Dangerous Similarity” by G. Tsabadze, 1982; “Russian Nursery rhymes” by V. Kazenin, 1983; “Cat’s House” by A. Kuleshov, 1985; “Litova” by Kiryukova, 1985; “Free wind" by I. Dunaevsky, 1985; "Musical incident in the country "Multi-remote", 1986; "Musicians of Bremen" 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; “The Wind from the Ponizovye” by G. Vdovin, 1981), O.P. Egorov (“The Woman’s Revolt” by E. Ptichkin, 1987; “Donna Lucia” by Feltsman, 1987; “Knight Bluebeard” by J. Offenbach, 1989; “Dorothea” by T. Khrennikova, 1989; “Silver Lake” by N. Kosheleva, 1990); “Ah, carousel, carousel!..” V. Komarova, 1991). The choreography of performances is based on Mordov. the subjects lay Nar. ornament. dances and dances that were common in ritual and festive events and gave the performances a kind of national character. coloring The most original among them are thematic dances: “Bogomazy” and “Meeting of the Master with the heroes of his sculptures” (“Sorcerer”), “In the underwater kingdom of Vedyavy” (“Silver Lake”), “Spring Festival” (“Bride of Thunder”), “ Glory to the earth-nurse! (“Wind from the Ponizovye”). New trends of modern times. choreography was reflected in one-act ballets and miniatures by choreographer L.N. Akinina “Guernica” by A. Morozov (1985), “Francesca da Rimini” to music. Tchaikovsky (1991), “Bolero” by M. Ravel (1991), “Carmen Suite” by J. Bizet - R. Shchedrin (1992), “A Seagull named Jonathan Lewington” by S. Terkhanov (1993), “Walpurgis Night” by Gounod (1993), “Mary Stuart” by G.F. Handel (1993), “The Nutcracker” by Tchaikovsky (1994), etc. In the opera “Siyazhar” by M. Fomin (1995), she developed bright drawings, accurate in ethnographic. regarding plot dances. During this period in music. danced at the theater: N. Razina, Dementyev, A. Burnaev, G. Chubarov, N. Zadumkina, L. Igosheva, O. Gavrilkina, Yu. Murinskaya, Akinina, Yu. Murinsky, V. Ievlev, V. Melyokhina, T. Redina , N. Kadantsev, M. Grinina, R. Melnikov. From the end 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. Lebedeva “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 several are open. det. ballroom and modern schools dance. Since 1980 he has been working in experimental choreography. music theater studio comedy (see Mordovian Republican Children's Choreographic School). With creation in Mordov. state un-te f-ta nat. culture (1990) Mordov. dance art has become a scientific subject. research A detailed study of the basics of folklore. plastic arts, poetry, costume, festive and ritual culture, folk. theater contributed to the creation of erzas that were original in style and content. and moksh. dances (“Tashto Naimanon utyakat” - “Ducks of the Old Naiman”, “Muranen mazykat” - “Beauties of Murani”, “Teyteren pokshchi” - “Girls’ Holiday”, “Teshtede peshkse keche” - “Star Bucket”, “Perkhlyaen kshtima” - “Perkhlyaiskie peretopy”, “Mokshen myantsevkat” - “Moksha vikhlyavitsy”, etc.; director Burnaev). A special has been developed here. training program for specialists in muzzles. choreography, published method. development and training. benefits. Lit.: Faculty of National Culture. 10 years. - Saransk, 2001; Burnaev A.G. Mordovian dance (history, methodology, practice). - Saransk, 2002; It's him. Genesis of the ballet art of Mordovia. - Saransk, 2004; Bryzhinsky V.S. Mordovian folk drama. - Saransk, 2003; It's him. Shine brightly - Silver chains: Erz. and moksh. folk games and round dances. - Saransk, 2002.
Yulia Mikhailova
Summary of the lesson “City of Musical Instruments” for the project “In the Land of Musical Instruments of Mordovia”
Lesson No. 1
Subject: «»
Target: - develop the creative process of perception in children music through play on the child's accessible musical instruments;
To form in children auditory concepts, a sense of rhythm, timbre, dynamics;
Instill interest in Mordovian musical instruments.
Progress of the lesson
Teacher:
Guys, today we are starting an unusual journey. This is a trip to a fabulous the country of musical instruments of our republic - Mordovia.
And once in this musical instruments live in the country, which means that both sounds and magic live in it music. Do you hear? Sounds Mordovian music.
Today we will visit City of Musical Instruments. Guys, do you know that instruments are different?
There are drums musical instruments, the sound comes from hitting instrument, such as a drum, wind instruments - they sound when they are blown, these are a pipe, a flute, a trumpet; strings - consist of strings that are played with bows or plucked with fingers. (picture displays). Among Mordovian musical instruments, the most common are the mallet (shavoma-M., chavoma - E., wooden xylophone (calcciamate - M, calceyamat-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 ones are sometimes mentioned tools, for example, an accordion.
And to get to know each other better Mordovian musical instruments, I'll tell you a fairy tale. And you will help me.
One musician entered the house with a large box. There were different musical instruments. He took out from it a bell, spoons, rattles, a drum, whistles, bells and many others.
Tomorrow is my son's birthday and you will all come in handy.
Night fell, and suddenly there was a crackling sound in the silence. ratchets:
Fuck-fuck-fuck. I wonder which of us the birthday boy will choose?
The drumsticks jumped up and beat out a short roll on the drum.
Tram-there-there! What is this tool - ratchets? Wooden planks attached to a cord. There's a lot of cod and no music. Of course the boy will choose the drum. He will be able to march and dance to my fight.
Ding-dong, ding-dong,” the bell began to get excited, “from you, drum, there is only beat and noise, but I can ring merrily, so I’m better suited for dancing.”
Tra-ta-ta, ding-ding-ding, - the spoons entered into the conversation. – You are mistaken if you think that spoons are not musical instruments. We are made of the most musical tree - maple and we can click very loudly, and the tinkling of bells decorates our music.
Don't make noise kids, look what this is musical instruments? - a huge drum standing in the corner hummed angrily.
Ding-dong! And they are not at all like us. - the bell was surprised.
We are your relatives - we Mordovian folk instruments.
Musical instruments made noise, became quiet and fell asleep. They woke up from cheerful laughter and stomping. Children came to visit the boy. Their hands were quickly torn apart musical instruments, and the fun began. All tools started playing their tunes.
Fuck-bang-bang - the rattles were crackling.
Tram-tom-tom—the drumsticks beat.
Ding-dong! - the bell rang.
Tra-ta-ta, ding-ding-ding - the spoons were talking.
Then the boy's father entered. He took Mordovian instruments, showed the children how to play them. The guys took everything tools and the general fun began.
We are all from the same family musical instruments, and we have our own names.
My name is beater!
And I am a cheerful whistler.
“I’m nude,” said the sad pipe!
We don’t need to argue,” the accordion stirred the bellows, and that’s all the instruments agreed with her!
Teacher: Guys, well, we listened to the fairy tale about musical instruments, and now I want to do a little quiz on the fairy tale. Answer my questions and receive a winner's token.
Quiz questions
1. Than drums tools different from strings and winds tools?
2. What is the sound? musical instrument Do you like the one from the fairy tale more and why?
3. If only musical instruments asked you to resolve their dispute, what would you tell them?
4. Come up with your own funny names for different musical instruments.
The teacher sums up the results of the quiz and awards the most active participants with commemorative medals with images musical instruments.
sources used.
http://muzichka1.ucoz.ru/
Valdonia (Firefly): Program and method. recommendations
Publications on the topic:
Goal: Acquaintance with Russian folk musical instruments: tambourine, pipe, rattles, balalaika, domra and other instruments.
“Journey to the Land of Musical Instruments” NOD in the preparatory group(conducted with unfamiliar children) Purpose: to introduce children to noise musical instruments Health objectives: preparation of organs.
Summary of the direct educational activity “Journey to the world of musical instruments” (multi-age group) Goal: Expand.
Summary of GCD for the middle group “Journey to the Land of Musical Instruments” Abstract of the educational activity for the middle group “Journey to the land of musical instruments” Objectives: 1. To cultivate a love of music and a caring attitude.
Synopsis of the NOD “In the Land of Musical Instruments.” For children of the preparatory group Goal: To form the foundations of the musical culture of preschoolers. Develop musical and creative abilities based on the synthesis of various types.
Summary of a lesson on speech development in the senior group “In the world of musical instruments” Goal: Expand children's understanding of the variety of musical instruments. Objectives: 1. Introduce children to musical instruments. 2.
Erzi folk musical instruments are monuments of the traditional musical culture of the ethnic group. They influenced the origin and development of many forms of traditional music.
Based on the vibrator (sound source), the main classes of Erzya instruments are idiophones (self-sounding), chordophones (strings) and aerophones (wind instruments).
Known idiophones are:
Calderdema.
There are 4 common types.
Collided idiophone- smoothly planed maple board 170-200 mm long, 50-70 mm wide, about 10 mm thick with a handle 100-120 mm long, 20-30 mm in diameter. 2 small maple plates were attached to both sides of the handle using strips of rawhide.
The struck idiophone is a 4-sided box made of solid wood (linden, maple, birch) on average 170-200 mm long, 100-120 mm wide with a handle at the bottom 100-150 mm long. A piece of oak knot, lead or an iron nut was suspended from the outside on a harsh tarred rope, attached at the top by a leather strap.
Strikeable idiophone- a hollow, cylindrical or 4-, 6-, 8-sided box made of solid wood, open at one end, with a handle (same as the 2nd type). Unlike the 2nd type, a piece of wood or iron was suspended inside the box.
Scraper idiophone- smoothly planed cylindrical maple timber 100-150 mm long, 70-80 mm wide with a handle at the bottom and cut-outs along the edges of the cylinder with teeth. Attached to the top of the cylinder and handle was a wooden rectangular frame 250-300 mm long, 100-150 mm wide, or later a metal bracket of somewhat smaller dimensions, in the middle of which a flexible wooden vibrator plate (kel) was tightly fastened. In order for it to hold better and be springy, a transverse rod was attached in the middle of the frame, and a metal rod was attached to the bracket. When the frame or bracket rotated around the beam (for which the performer made circular movements above his head), the plate jumped from one tooth to another, making strong clicks, which at a fast pace turned into a crackling sound.
Calcemat
- 3, 5, less often 6 wooden plates of ash of unequal length, fastened with bast or leather strap. When the plates were struck with wooden hammers or spoons, they produced sounds of different pitches. The timbre of the instrument resembled a xylophone.
Chavoma is a smoothly planed birch or spruce resonant board impregnated with a composition of pine resin (resin) and hemp oil, which was struck with wooden mallets or spoons. The ends of a belt were attached to the edge of the board (sometimes the board was covered with a belt for strength), by 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 - chavicya (“beater”).
Bayaga - a massive wooden board made of oak, birch with rounded corners, about 150 cm long, 40-50 cm wide, 12-15 cm thick. It was hung on a gate installed in the middle of the village on a hillock, and hit with an oak stick, a wooden hammer or a pestle , notifying residents about important events.
Bayaginet (shaken idiophone) - metal bells strung on a cord or hanging freely on a frame. According to archaeological and ethnographic data, the following types of bells are known: forged truncated-conical iron bells with a hemispherical tongue, strong ringing and a rich range of partial tones; hemispherical made of non-ferrous metals with a spherical reed, high register ringing; cylindrical with low sound; oblong in shape with an indefinite timbre. The instruments were used in ritual dances, forming a unique timbre-dynamic polyphony.
Lulyama - a rod (stick), on top of which they cut out a figurine in the form of a horse’s head and hung 5-7 bells and rattles from it. Accompanied by various rituals.
Dinnema - a heteroglotic harp, preserved to this day among the Karatais. It is a horseshoe-shaped iron plate with a flexible steel tongue in the middle. Mostly dance melodies were played on the instrument.
Among the chordophones known:
Gaidyama - a slightly bent birch or maple board, widening towards one end, 800-1,000 mm long, 120-150 mm wide at one end, which rested on the floor, and 30-50 mm at the other. One string was pulled onto it, usually from a harsh, tarred thin rope (thick drudge), sheep or, less commonly, gut. 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 a willow or bird cherry twig (without a stretching mechanism) with a stretched, tarred, harsh thread was used to produce one low sound. Dance tunes were performed on the instrument in an ensemble with other instruments (puvamo, kaiga), where the gaidyama was assigned the role of a bass rhythmic instrument. In an ensemble with a nuday, it was tuned to a bagpipe bass tube, resulting in a kind of “three-part bagpipe.”
Kaiga
- lute (violin), having a total length of 615 mm, the length of the resonator box is 370 mm, the width at the lower end is 180 mm, the upper end is 155 mm. There were 3 triangular or round holes on the upper and lower boards of the instrument. The instrument had 3 horsehair strings and a bow without a hair tension mechanism. It was characterized by a fifth or fifth-octave system. Children's instruments were 2/3 the size of an ordinary kaiga.
Aerophones- the most numerous class of Erzya instruments.
Seasonal ones were made mainly in the summer from plant stems, tree leaves (lopa, keels of tsyoks, sunday morama, olgon morama, zunderya, etc.).
Veshkema
- a flute made of linden or willow bark, wood, as well as reed, less often - bird bone. There were 2 types.
Kuvaka vyashkema (long flute) 500-700 mm long. Usually 6 finger holes were cut out on it (weigel is boiled). Instrument without whistle device.
Nurkine vyashkema (short longitudinal flute) with or without 2-3 fingerboard holes and a whistle device. The flute has been known to the Erzya people since the Bronze Age.
Keven tutushk a - clay hollow whistle made of baked clay with or without 2 playing holes in the shape of birds, domestic and wild animals. It was used during calendar and family holidays for intoning program tunes. The instrument has been known since the beginning of the 1st millennium AD. e.
Nudey
- a clarinet made of 2 hollow reed tubes about 200 mm long, 6-8 mm in diameter with vibrator reeds cut out on them about 20 mm long and 3 neck holes on each barrel. Both tubes were usually mounted in a wooden box, which 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 tint and was distinguished by varied dynamics. It produced extended 2-voice drawn-out melodies and fast dance tunes. The Nudei type existed among the Erzyans in the middle of the 2nd millennium AD. e.
Puvamo
- bagpipes.
There are 2 known species.
The first had 2 melodic tubes made of reeds, corresponding in design and name to the nuday, and 2 bass tubes for extracting low bourdons.
The second - ozks puvamo - was used at molyans to perform ritual tunes. Unlike the first type, it did not have bass bourdons. The polyphons of Nudeya and Puvamo had a great influence on the formation of developed forms of Erzya folk polyphony.
Drama
- signaling instrument.
Based on manufacturing technology, there are 2 types. The first was made from a birch or maple branch from 800 to 1,000 mm long, which was split longitudinally and the core was hollowed out from each half. Then both halves were applied and wrapped with birch bark. In this case, one side of the tube was made wider, the other narrower. The second type consisted of rings of linden bark inserted into each other and sealed with wood glue in the shape of an expanding tube. To eliminate gaps, the seams of the tube were doused with varnish. The length of the tool ranged from 500 to 800 mm. A small cup-shaped recess was made on the narrow side, or in later versions, a metal mouthpiece was occasionally inserted. Both species did not have vocal openings. The sounds of the overtone series were extracted on them.
Suro - trumpet made of bull or cow horn. The mouthpiece was either cut into the shape of a small depression or made from a spool of thread. In the latter case, one side of the coil was ground off, inserted into the hole of the horn, and a recess for the lips was made on the other. The syuro was used as a signaling instrument (by shepherds), as well as a ritual one, supposedly capable of driving away evil spirits.
Since the middle of the 19th century, the balalaika and harmonica, borrowed from the Russians, have entered the life of Erzyans everywhere.
Mordovian men often played musical instruments. Not a single holiday or event took place without musicians and playing instruments. These are: garze (m), kaiga (e) (violin); fam, ufam (m), puvama (e) (bagpipes); nyudi (m), nuday (e) (type of double clarinet). The Mordovian people believed that the most perky, 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 don't need it, 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 – listening. The play, in its intonation basis, is based on the singing of the Moksha violin tune “Parkhtsi Pala” (“Silk Glistens”).
The teacher suggests choosing a rhythmic accompaniment for the play.
^ Musical repertoire
Calcemate. N. Boyarkin – hearing.
Zerezenkay (Moksha tune) – listening.
Fun slide (French). M. Volkov – rhythm.
^
Topic: “Rostuvan kud holiday”
One of the brightest winter holidays among the Mordovians was the holiday of Roshtuv (Christmas), which was not associated with Christian Christmas, but was dedicated to the patron spirits 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 sung at the Roshtuva (Christmas) holiday, the word “Kolyada” appears. No one can describe Kolyada because no one has ever seen it. They only know that it comes during the Christmas holiday and brings people wealth, happiness, and health. People composed many songs - “carols”, special majestic congratulatory songs, in which they asked Kolyada to bring success and health to their families, an increase in harvest, and more livestock offspring. Shepherds, children, and youth sang carols as they walked around 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, celebrating fertility and abundance in the new year. The more people flocked to the “Christmas House,” which was rented for the entire period of celebration (from 10 to 14 nights, starting from the night of December 24 to 25), the stronger the effect of good wishes. It was also necessary to come neatly and smartly dressed.
The holiday began with songs in which patron spirits were addressed so that they would 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 the most respected people were presented with a boiled pig's head. The pig was considered sacred, embodying the fertility of the earth.
While the ritual meal of the elderly and the singing of songs lasted, the youth were engaged in solving riddles:
After lunch and solving riddles, the tables were cleared. All those present were divided into 2 groups: the first - “Rostuvan kudon kshtiykht” (dancers of the Christmas house) and the second - “Rostuvan kudon vanykht” (spectators of the Christmas house). The dancers were held in special esteem - their parents took pity on them and cared for them, fed them better and did not burden 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 in a fur coat turned inside out, felt boots on his hands and feet, his face was stained with soot, and his eyes were blindfolded. At the same time they forced us to dance. “The bear was trampling, marking time, jumping awkwardly, swaying from one foot to the other.” The “bear’s” task is to catch one of the dancers in order to transfer his role to him. If he caught a girl, then a guy he knew would help her out.
^ Musical repertoire
Roshtuva kudon teiter (Girl of the Christmas House). N. Boyarkin – hearing.
(E) Kalyada, kalyada! (Kolyada) - singing.
(M) Ay, kalyada, kalyada (Ay, kolyada, kolyada) - singing.
Kalyadamo (Carol). N. Boyarkin – hearing.
Kishtima roshtuvan kudoso (Dance in the Christmas house). N. Boyarkin – rhythm.
^
Topic: “Winter gatherings”
When winter set in with blizzards, blizzards and frosts, the Mordovians’ favorite pastime during the long free evenings was winter gatherings. They gathered in a clean, spacious hut, lit a torch, which burned and crackled merrily, sang songs, danced, and competed in performing perky and mischievous ditties. They loved to compose and tell fairy tales about good and evil rich people, about animals, magical-fantasy and everyday ones. The characters in the magical fantasy 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, mistress and mother fields), as well as positive heroes (heroes) and negative ones (snakes, witches, evil king).
The men were engaged in wood carving and were famous for their skill. Their hands made wooden cups (noodles (m), wakan (e)), spoons, mugs, ladles, ladle (kechene (m), kolgan (e)), salt licks (saldorks (m)), spoon trays (for storing spoons) in the form of a silhouette of a bird floating on water, or a duck. The salt shaker with such an image was processed especially carefully, because had a symbolic meaning - profit for the house. And the dugout tub - par - was intended for a dowry. It was decorated with an ornament consisting of geometric shapes, combs, and imitations of Mordovian ancient jewelry.
While singing songs, the girls spun yarn; they were famous for their skill in embroidery. Linen items made up the bulk of the bride's dowry. Already from the age of six, girls, under the supervision of their mother, began to weave and embroider. Over the long autumn and winter evenings, the girl managed 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 items were displayed for inspection, and the girl’s skill and skill were judged by them.
The song “Roman Aksya” (“Romanova Aksinya”) notes not only the girl’s skill, her diligence, dexterity, but also her beauty. Here the ideal of a girl is shown - the harmony of the external and internal world. Many demands were placed on the bride-to-be. Preference was given to being beautiful, strongly built, with a cheerful character, hardworking and neat. 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 the color of bird cherry, rosy cheeks, slender, with good long hair, with endurance. strong legs. The gait should be firm, sweeping, similar to the “gait of a foal.”
Attention was also paid to how the dandy was dressed: her legs were wrapped first in linen, then in 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 point: the more embroidered stripes on the dress, the more hardworking and beautiful the girl was considered. And this was very labor-intensive work: women’s holiday shirts were decorated with embroidery on the forearms, sleeves, armpits, etc. Almost the entire costume was made by the girl’s hands, and by her clothes they judged her hard work, perseverance, neatness, and patience.
Mordovian women were very fond of various jewelry made from beads, beads, chains, coins, bells, and bells. And during the festive dances, all these ringing decorations served as musical accompaniment to the dance. There was even a proverb: “First you hear the muzzle, and then you see it.”
^ Musical repertoire
(M) Roman Aksya (Romanova Aksinya) – hearing.
Spinner. N. Boyarkin – hearing.
Snowman. Music Gene. Suraeva-Koroleva, Art. G. Belozerova - singing.
Yalgan kshtimat. The dance is over. Yalgan kishtemat. N. Kosheleva – rhythm.
(Tat.n.p.) Shoma bass - singing.
III quarter
^
Topic: “Welcoming spring”
This quarter continues to introduce children to the traditions and rituals of the Russian and Mordovian peoples dedicated to welcoming spring.
The Mordovians dedicated many songs, riddles, and proverbs to spring, the sun, and birds.
Introducing children to the Erzya song “A sezyaka, sezyaka” (“Soroka, forty”). This song was sung at the holiday, which was very affectionately called Maslenitsa. They asked her for contentment, abundance, health. Her assistant was the Sun, omnipotent, reviving all living things to life. What should have been done to show that he was respected and relied on? People baked butter pancakes, burned circular fires, and danced in circles.
Birds brought spring on their wings - this is what our ancestors believed. And they created calls that “called” the early birds home. March 22 is the day of the vernal equinox. On this day they called for spring for the second time. And when the lawns were a little clear of snow, the Mordovian youth gathered to play. The participants were divided into 2 groups, both of which depicted flocks of larks. At first, the flocks “flyed” in a circle (in pairs), pretending to be children of birds, circling, flapping their “wings,” and resting. At the sign of the presenter, who imitated the singing of a bird (or played the whistle), the birds “took off” again. Suddenly the flocks met, joyfully greeted their “friends” and went on “vacation” together. During the “rest”, the larks competed in dancing, singing songs, etc. (according to N.I. Boyarkin).
In the spring, during the period from Maslenitsa to Easter (for 7 weeks), spring coril songs (pozyarat) were sung in Mordovian villages. Once upon a time, 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. While performing these songs, the singers believed that the best singing was strong, loud singing. Mordovian singers were distinguished by their very emotional, strong singing. The main role was played by the lead singer, who led the main voice; the rest listened to her and carried on their own melody.
For a long time, the Mordovians have enjoyed special respect for the willow. The willow was the first to announce that nature would soon come to life and warmth would come. According to legend, willow had the ability to give health and vitality to people and animals. Palm buds were considered healing. They were given to chew for toothache and fever. Therefore, the Mordovians had a ritual of “willow whipping.” On March 21, “the willow turned silver,” and from March 21 to March 28 was Palm Week. The ritual 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, they asked Varmava “for the health of the girls, to save them from bad fame, so that the bread would be produced, the cattle would multiply.” In the evening they gathered for a party, they also invited married guests... First they were treated, and then they were “chased” through the gauntlet: girls and boys stood in a row, whipped each guest with willow branches, and wished them health and family happiness amid laughter and cries.
Early on Sunday morning, when the sun was just rising and the first rays were gilding the roofs of houses, young people in groups walked around the houses and whipped sleeping children with willow branches. At the same time they sang:
They also whipped livestock with willow to keep them healthy. They whipped and sentenced (poems for improvisation):
Game "Verban whip".
Children stand in a circle. The leader runs with a willow in his hands and touches the children. At this moment, the children must jump: whoever does not have time to jump is the one who drives.
In order for the beautiful Spring to enter the Mordovian region as a full-fledged mistress, young people went to the river bank, sang songs, had fun, and praised Varmava (the patroness of the wind):
There were round dances here. Round dances are the oldest entertainment among different peoples. They were led when song, dance and play were not yet separated. Mordovians, 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 them in their affairs.
^ Musical repertoire
Ducks are flying. M. Volkov – hearing.
(E) And sezyaka, sezyaka (Soroka, forty) - singing.
(E) Mastyan chi, paro chi (Maslenitsa day, good day) - singing.
About mom. Music 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 whose stage you can see opera performances, operettas, and ballets. It can be explained to the guys like this: “If speech, movement, gesture are combined with singing, then this is a musical stage work. In it, the artists sing more than they speak. And in the case when they sing everything they could say, it turns out to be an opera. It is composed by a composer based on a playwright's play. If the artists do not speak or sing at all, 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 theatre: dramatic theatre, opera and ballet theatre, musical comedy theater” (N.M. Sitnikova).
Illarion Maksimovich Yaushev is an Honored Artist of Russia and People's Artist of Mordovia, a talented singer and bass. His performances emotionally and lovingly sounded Mordovian folk songs in different parts of Russia. He created the image of Prince-voivode Archilov in the first Mordovian performance - the musical drama “Litova”.
Litova is a Mordovian girl, aka Alena Arzamasskaya, who came to Mordovian lands from Arzamas. She is Alena Temnikovskaya, who stood at the head of the popular uprising in Temnikov. Litova came from Stenka Razin with a “golden letter”, in which the peasant chieftain called on everyone to fight 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 Theater. The Great Patriotic War was going on, and the theater, with its performances, helped people find hope in an early victory.
^ Musical repertoire
Litova's aria from the opera “Litova” by L.P. Kiryukov (in Spanish R. Bespalova) – hearing.
Trolleybus. G.G. Vdovin, Art. E. Ruzhentseva - singing.
Pek Vadrya (composition by the group “Pek Vadrya”) – rhythm.
^ IV quarter
Topic: “Beauty Birch”
Birch is one of the most beloved trees of the Mordovians. The birch was considered a sacred tree and they glorified it in their songs.
“Luganyasya kelunya” (“There is a birch tree in the meadow”) - singing. Demonstration and learning of dance movements.
May is the time of flowering, grass growth, bright sun. And on these days, filled with light, smells and warmth, the holiday “Trotsyan chi” (“Trinity Holiday”) took place. First, they went into the forest for the “Trinity tree” - a young birch tree, 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, families went to the field, where they sang songs and asked nature to help them grow a good harvest. At the same time, they threw the eggs 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 tree in the meadow) – singing.
(E) Kavo cerat tikshe ladit (Two guys are mowing the grass) - singing.
Sunny bunnies. Music Gene. Suraev-Korolev, Art. A. Gromykhina - singing.
There is a birch tree in the meadow. Arr. A. Putushkina – rhythm.
(Tat.n.p.) Urmekuch (Spider) – rhythm.
^
Topic: “Summer visit us”
When summer came to Mordovian land, the children rejoiced at the sunny days, the warm river, and the tan. We happily went into the forest to pick berries, mushrooms, sorrel and wild onions. They ran through the streets and invited warm and quiet rain. They loved to process peas and 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 lilies. The boys made a whistle-flute (“veshkema” (e), “vyashkoma” (m)) from a willow twig; they wove baskets for mushrooms and berries, and bast shoes from linden bast.
The real holiday of summer was haymaking. The whole family went to the meadows: the kids brought fresh water, the teenagers and the adults mowed the grass, stirred and raked the hay, and stacked it in shocks. During their holidays, Mordovian children played various games: “Crow,” “Cockerel,” “Squirrel,” and “Cat and Mouse.” In these games, a driver (“crow”, “wolf”, “cat”) was chosen who must catch the fleeing “chickens”, “squirrels”, “mice”.
During grazing, children together with adults competed in making and guessing riddles, performing nursery rhymes, ditties, and songs. On a summer night, the songs were heard far around the area (according to the book “Folk traditions of raising children among the Mordovians” by N.F. Belyaeva).
, singing along.
Kindergarten. Music N. Mitina, Art. Tovarkova - singing.
Apple tree. Arr. A. Putushkina – rhythm.
^
PREPARATORY GROUP
Singing
Tasks:
continue to introduce Russian and Tatar folk songs, develop the skill of performing them;
continue to introduce Mordovian folk songs in the volume of sixths, sevenths 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 develop the skill of performing them;
continue to introduce songs by composers of Mordovia;
work on expressiveness, melodious intonation, clarity of text pronunciation;
learn to sing on a support;
learn to sing purely within the fifth-seventh;
develop the skill of “chain” breathing;
develop the skill of bourdon two-voice singing;
develop the skill of improvising figurative movements of characters, the skill of staging songs at your own discretion.
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