Circassian folk instruments. A new Adyghe musical instrument has been created. View the contents of the document “Traditional musical instruments of the Circassians”

Traditional musical instruments and instrumental music represent the richest layer of the spiritual culture of the Adyghe people. Reflecting his worldview, type of thinking, value orientations of society, being closely connected with religious and secular life, this area of ​​folklore is of utmost importance for understanding the ancient culture of the Circassians, revealing the national “mode of thinking” (the term of S.I. Gritsa). Instrumental culture constitutes a huge array in the musical tradition of the Circassians. This is evidenced by a very significant layer of instrumental texts in rituals, and the extraordinary development of dance music in the Adyghe tradition1, and the special role of instrumental performing art in culture, its close connection with the etiquette norms of Adyghe khab-ze (Adyghe ethics), and the high social status of performers -instrumentalists, the presence in the past of a very developed differentiated workshop (E^eguako-instrumentalists.

Among the musical instruments of the Circassians, the most often found in mentions and descriptions of travelers of the 12th-19th centuries are the shichepshina (bowed string), apapshina (plucked string), pshinadykuako or pshinatarko (corner harp), kamyl (longitudinal flute), bzhamiy (horn), phatsych (ratchet), shontryp or fatryp (double-sided drum). In addition, as the study of the Adyghe instrumental tradition has shown, there were other musical instruments, such as the Shapsug zither (plucked string), Shapsug lyre (bowed string), mountain horn (longitudinal trumpet), phambgu (slotted idiophone), etc. Some of them retained their connection with ritual until the recent past. In the middle of the XIX - early

1 For example, ethnographers and folklorists have recorded more than two hundred different melodies of just one of the dances - uja.

XX centuries In the musical life of the Circassians, the harmonica-imshna appeared and firmly took root, which largely contributed to the emergence of a new cultural situation. The instrumental tradition of the Circassians as a whole is characterized by the complexity, multi-component and dynamic nature of its processes.

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

The instrumental tradition of the Circassians became the object of close attention of scientists quite late - from the 40-60s of the 20th century [Levin 1968; Mirek 1968, 1992, 1994; Samogova 1973; Scheibler 1948, 1957; Shu 1964, 1971, 1976, 1997; Vertkov 1973]. The works of scientists contain material concerning the morphology and ergology of the most common musical instruments: shichepshina, apapshin, kamy-lya, phatsych, some information about pshinadykuako or pshinatarko and bzhamie. Unfortunately, in the works of this period there is no differentiation of musical instruments according to historical criteria of functioning in culture. As a result, instruments such as nakyra, duduk, and dayra, clearly borrowed (at a fairly late period), are not isolated from the general series. In addition, in the works listed above, the Adyghe tools are considered outside of their ethnographic and socio-historical context; the ethnographic information found is fragmentary or descriptive.

A new stage in the study of Adyghe instrumental culture began in the 80-90s of the 20th century, when ethnomusicologists turned to its problems [Baragunov 1980; Kagazezhev 1988 - 1998; Sokolova 1986 - 1999]. It is significant that B.S. Kagazezhev continued the morphological and ergological aspects of the study. He introduced into scientific use detailed measurements of such musical instruments as kamyl, apapshina, ichepshina and pkhatsych, described some design features of bzhamsh, pshinadykuako (pshinatarko) and shontrypa (without a waist).

The first experience of a comprehensive study of the musical instruments of the Circassians (affecting issues of forms and methods of their functioning, features of performing art) are the works of A.N. Sokolova [Sokolova 1994, 1998 A-G, etc.]. Some musical instruments were described by her for the first time (upapshina - an ocarina-type instrument, mazhepshin - comb). A.N. Sokolova also made the first classification of Adyghe instruments in accordance with the Hornbostel-Sachs taxonomy. However, the works of A.N. Sokolova are based on local material (the Republic of Adygea, which represents part of the western region where the Circassians live).

Until recently, researchers practically did not address issues related to the systematic analysis of instrumental tunes of the Circassians, their rhythmic and pitch structures, and the relationship of the musical components of instrumental texts with choreographic ones.

Thus, the elaboration of the problems around which this dissertation is focused currently seems insufficient: there is no holistic comprehensive coverage of the phenomenon of Adyghe instrumentalism, there are not even approaches to a typology

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

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

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

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

In addition to our own field materials, we used the stock materials of ARIGA, KBIGI, Lazarevsky Ethnographic Museum (Sochi), Radio Committees of the KBR and RA, collected in those years when many layers of instrumental music were actively functioning in the tradition. Archival materials made it possible to expand the scope of the synchronous layer under study until the 40s of the 20th century.

Additional material included records from the personal archives of T. Blaeva, R. Gvashev, Z. Guchev, R. Unarokova, kindly provided to the author. Conversations with these collectors and scholars have added significantly to the information available in our own records.

Unfortunately, today we have to admit the extreme paucity of publications of Adyghe instrumental texts. Individual tunes (no more than ten samples) are contained in different volumes of the NPINA Anthology, published under the editorship of E.V. Gippius [NPINA 19801984]. A collection published in Maikop (RA) “Adyghe Dances”, compiled by one of the most famous harmonists in the Caucasus, K. Tletseruk, is also dedicated to instrumental music [Tletseruk 1987]. These few publications also formed the material for this work.

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

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

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

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

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

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

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

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

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

3 A historical name that unites the territory of the Tuapse district of the Krasnodar Territory and the Lazarevsky district of Sochi - a place of compact residence of the indigenous population - the Shapsugs. living in their historical homeland, without affecting the music of the numerous Adyghe diaspora.

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

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

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

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

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

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

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

We analyze the musical instruments of the Circassians from the standpoint of the systemic-ethnophonic method of organology, developed in the studies of I. Matsievsky (see index works), F. Karomatov [Karo-matov 1972], Y. Boyko [Boiko 1986] and others.

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

During the study, we also relied on the methods of cultural theory [Mol 1966-1973; Markaryan 1969-1983, etc.], ethnology [Baiburin 1990-1998; Arutyunov 1979 and others], linguistics [Saussure 1977 and others], ethnolinguistics [Tolstoy 1995; Tolstaya 1988, etc.], psychology and psychophysiology [Arnheim 1974; Bergson 1984; Blair 1981; Leontyev 1972, etc.], ethnopsychology, choreology [Koroleva 1977; Lisitsian 1958; Lange 1975; Sheets 1966 and others]. Of particular importance to us were works in the field of systems research [Averyanov 1985; Shkenev 1990 and others].

Today it is becoming generally accepted, when considering any cultural phenomenon, to take into account the integrity of its existence. From this perspective, musical culture appears as one of the subsystems of a larger general system of man - nature, the ecological integrity of which does not have to be proven. “Indeed,” writes G. Gachev, “the foundation of the history of a people is the history of their work to transform the nature among which they live. This is a two-pronged process: a person saturates the environment with himself, his goals, masters it and at the same time saturates himself, his whole life, everyday life<.>your whole body and, indirectly, your soul and thought - by it. The adaptation of nature to itself is at the same time a flexible and masterly adaptation of a given group of people to nature” [Gachev 1988: 48-49]. Given the heterogeneity of cultural languages, each of them inevitably reflects ideological and psychophysical processes, their characteristics that have developed in a particular ecosystem. In this regard, in relation to the musical tradition of the Circassians, we introduce such a concept as landscape sound, reflecting the close relationship - generative and corrective - between the ecosystem and the musical culture of the people. To a certain extent, we can say that the fundamental laws of the ecology of human existence are modeled in code texts. As a result, not just a chain or a set of cultural language codes is built, but a closely interconnected system that presupposes their specific functions. Therefore, when exploring one of the components of the musical tradition of the Circassians, we cannot ignore such closely related areas of traditional culture as socio-communicative connections and institutions, ideological and psychological aspects and the historical and economic background of culture. Of course, we are addressing only those areas of their manifestation that are directly or indirectly related to instrumental music. In this case, instrumental musical culture acts as a mega-text, and the rest of cultural existence as a mega-context.

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

In accordance with all of the above, the goal of this work is to create a systematic understanding of the traditional instrumental culture of the Circassians, which is missing in science, and to include it in the complex of existing knowledge about the Circassian musical culture as a whole. To achieve this, the following tasks are solved:

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

Implementation of a complete taxonomy of the Circassian musical instruments;

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

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

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

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

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

Identification of the regional structure of the Adyghe instrumental tradition.

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

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

Sanskrit treatise of the 13th century Part I. INSTRUMENT AND PERFORMER

IN THE CONTEXT OF TRADITIONAL CULTURE