Our environment is online— The natural, climatic and socio-cultural characteristics of a particular region have left a special imprint on the melody, intonation and manner of singing songs. All this led to some distinctive features and typology song folklore one area or another. The so-called local traditions of song folklore have developed, which is understood as a set of living conditions, style features and performance techniques that give originality and characteristic distinctive properties to the song folklore of a certain people in one limited area.
In Russian song folklore, modern researchers identify at least seven main stylistic geographical zones: Northern Russian, Southern Russian, Central Russian, Western Russian, Central Volga, Ural and Siberian. Cossack song folklore is also included in a separate group, in which the traditions of the Don, Orenburg, and Terek Cossacks can also be distinguished, although in general the musical culture of quality corresponds to the southern Russian folklore traditions. However, within the southern Russian culture, due to the peculiarities of the settlement of the territories adjacent to the Don and Kuban, many unique song traditions have developed. Thus, the song folklore of Kuban is very heterogeneous. It combines features of both Ukrainian melodic music and Central Russian traditions. The traditions formed in the Cossack environment before the 18th century, when people from other regions of Russia had not yet arrived in these territories, are quite integral and independent.
The Western Russian tradition is of particular interest, since it preserves the archaic features of Slavic melodic music. Geographically, the area of this tradition includes the territories of modern Bryansk and Smolensk regions and nearby areas of the Oryol, Kaluga and Pskov regions. The main centers of Western Russian folk tradition is Bryansk and Smolensk. The features of Russian song culture here closely interact with related song traditions of Ukraine and Belarus. The merit in the study of song folklore of these areas belongs to the musician-ethnographers V.M. Shchurov and A.I. Sobolevsky.
Calendar song Bryansk region“On the coming week” performed by Natalia Dolgaleva
In the Western Russian tradition one can also easily detect related features with the song traditions of the Western Slavs, which is a unique phenomenon for Russian folklore and indicates the depth of its national roots. The archaic nature and immutability of musical forms in the folk art of the Russian West is clearly manifested simultaneously in all the signs of local intonation-harmonic and performing traditions. Bright distinctive feature The existence of folklore in a given area is based on festive culture; folklore is preserved in the context of a system of calendar rituals, accompanied by singing. Song folklore exists within the framework of well-preserved traditions of celebrating such calendar and agricultural rituals as Christmas, Maslenitsa, Soroki, Semik, Midsummer, Dozhinki. Quite common here were songs marking the beginning of one or another type of agricultural work, for example, the ritual of the first pasture of livestock (“Yegoryevsky songs”), weeding songs, harvest songs, etc. The local wedding ritual also had qualitatively certain features. Songs characteristic of the region were sometimes accompanied by playing musical instruments. The most commonly used accompaniment instruments are the violin, double pipe, Pan flute, and hurdy-gurdy.
Folk songs of the Smolensk region.
Archaic elements predominate in the musical and stylistic forms of calendar, wedding and round dance songs of the Western Russian tradition. These include: syllabic strictly censored verse; heterophony in polyphony (or the use of bourdon); a system of scales limited in range associated with the simplest modal forms; uniform musical syllabic rhythm with minimal chanting of syllables; clearly dissected simple structures; singing melodic formations.
The very manner of vocalization in the Western Russian tradition is very individual. It is characterized by a ringing direct sound delivery in the middle register, the completion of stanzas with a long, carefully constructed unison, and the use of cries - exclamations (hooks) in the middle and end of musical phrases. We can confidently conclude that the Western Russian tradition strictly preserved archaic Slavic features and was less influenced by intercultural contacts, traces of which ethnographers often find in other song traditions.
The second major regional system of song folklore can be considered the musical and poetic traditions of the Russian North. Geographically, they are distributed in the territories of modern Novgorod, Arkhangelsk, Leningrad and Vologda regions. Partially, these traditions continue to exist among representatives of the Slavic ethnic group living in the territories of Komi, Karelia and the Kola Peninsula. Some stylistic features of the North Russian song tradition can also be found in the northern regions of Kostroma and Kirov regions. The formation of a unified tradition was facilitated by the dominance of the Novgorod principality. These territories were less affected by the consequences of civil strife in the 12th–14th centuries, and the negative consequences of serfdom were less evident here. At the same time, the development of northern song traditions was particularly influenced by harsh natural and unique socio-cultural and living conditions - the predominance of fishing and hunting over agriculture, traditional trade and cultural connections with the Western Slavs and representatives of the Finno-Ugric ethnic group, as well as other cultures thanks to trade relations through White Sea shipping. All these cultural contacts created the opportunity for the emergence of various assimilation processes, which formed the unique features and characteristics of the Northern Russian song tradition.
The most important feature of the northern folklore tradition is the predominance of epic song genres in solo storytelling form. Ethnographers managed to record numerous epics, ballads, spiritual poems, fables, and buffoons in a fairly developed and complete form. They were recorded in the territories of Zaonezhye, along the banks of the Pinega, Mezen and Pechera. The epic principle is very clearly manifested in most genres of northern folklore. The epic style also left its mark on the stylistic features of northern laments and lamentations. In the North, round dances that are very diverse and complex in choreographic design are common. Slow round dance songs of the northern region are distinguished by their sedate, narrative character. musical language. This generally corresponds to the epic structure of northern folk musical culture. To accompany song folklore in the Russian North, harp and shepherd's trumpets were most often used. Instruments of later origin were also used, the most popular of which were local varieties of harmonics - talyanki, three-row.
Songs of the Russian North, Arkhangelsk region, Mezensky district, Kamenka village
The musical style of northern song folklore is close to the epic genres of storytellers. It is characterized by chanting tonic (accented) verse. The rhythmic organization of the chant is most often associated with the use of three constant stresses. It is this type of verse that is common in northern epics, lamentations, wedding and round dance songs. Their manifestation can be easily detected in the lyrical songs of the northern regions. The combination of chanting with tonic verse determined the metrorhythmic originality of the songs of this area. In the northern region, 11/4 and 9/4 are typical for epic and wedding songs. The most striking feature of the modal organization of northern songs was the reliance on reduced intervals (diminished fifth and diminished fourth). The predominant type of polyphonic song-choral texture is complicated heterophony with a “beam-like” stratification of voices between melodic “nodes”. Compositionally, the song folklore of the northern region is characterized by the widespread use of expanded one-phrase and two-phrase structures. Vocal ensemble, according to local traditions singing style, is distinguished by a two-register sound, in which the octave doubling of the main melody (in the light head register) takes place either in the upper or middle voice. Harmonically, the voices sound collected and quite soft. Strictness, restraint, sedateness of the epic structure of the northern folk song creativity manifests itself in the musical style itself, as well as in the performing manner, so characteristic of the strict ethnic aesthetic canons of this region.
Southern Russian folk musical culture represents the most original layer of Russian culture; it is a special song tradition that has absorbed features of other regions, but has created unique harmonic and polyphonic combinations. The South Russian tradition is characteristic of regions located south of the Oka River up to the border with Ukraine. The characteristic features of this manner are manifested in song folklore and the manner of vocalization among the population of the Belgorod, Kursk, Voronezh, Lipetsk, and Tambov regions. Elements of this song tradition are also often manifested in the folklore of the eastern regions of the Oryol and Kaluga regions, the south of the Tula and Ryazan regions, as well as in the folklore of the Russian population living in the north-east of Ukraine in the Kharkov, Poltava and Sumy regions. The southern Russian song tradition as a whole developed in the 17th–18th centuries. Historically, this was associated with the development of wild fields and forest-steppe areas in the upper reaches of the Don. Such conditions of existence of the folklore tradition predetermined its main features associated with reliance on choreography, which is manifested in a significant amount of folklore material of a dance nature. Round dance songs of the South are also very common, but they are more closely associated with peasant labor and the holidays of the peasant calendar. The dance-like “karagodas” and “tanks” are common in all regions of the South of Russia. These specific songs with movement usually have a characteristic chorus with the words “leli, leli.” In itself, it is associated with ancient love magic, since it contains an appeal to the pagan gods. It is this fact that can explain the common name for these songs in the region, “lelyushki” or “aleleshnye” songs. Moreover, among this category of songs, dance “lilyushki” predominate, they are especially characteristic of wedding ritual performances.
"At our gates" folk song Voronezh region. Performs Academic choir Russian song "Songs of Russia" p/u Elena Kutuzova
It is much less common to find slow, sedate ritual songs. They are usually performed only at the most dramatic moments of the wedding ceremony, when the bride leaves her parents' house or her braid is unraveled. In the wedding rites of the South, lamentations are either completely absent or occupy a very modest place.
A characteristic feature of the lyrical songs of the South is that most of them are meaningfully sung on behalf of men or convey the experiences of men. Therefore, southern Russian lyrics have a masculine connotation, which is clearly manifested when songs are performed by male ensembles. In general, male ensemble performance is extremely characteristic of the southern Russian tradition. Among the folk instruments accompanying singing in the south of Russia, kugikly, double zhaleika and pipes are common. At the core musical style Southern Russian song culture, just like the northern one, is based on the peculiarities of folk versification. Southern Russian melodies are in close rhythmic and structural relationship with measured, caesurated verse. This verse is related to the syllabic verse, with a constant caesura, typical of the Western Russian style. However, in the South it is distinguished by frequent variations in the number of syllables in verse periods. This becomes possible as a result of fragmentation or enlargement of the basic units of syllabic rhythm. All this affects the rhythm of the melody: the rhythm of southern Russian songs is very impulsive. It makes extensive use of fractional patterns and syncopation.
Russian folk song of the Voronezh region recorded by M.E. Pyatnitsky “The Pockmarked Cuckoo” and Chatushki “Kuva, Kuva”. Voronezh choir. Soloist Raisa Pomelnikova.
The choral score of the songs is very rich. In many cases it has a three-voice basis with sub-voices. The voices are closely spaced, the female cast sings mainly in the low and middle registers, and the men in the high. Based on this, we can talk about the uniqueness of local modal thinking. The use of frets supported by an enlarged fourth is very typical here. Sometimes the scale of the entire song consists of only four sounds, located at a distance of a large second from each other, thereby the outermost sounds of the scale form a tritone. In the melody of songs, tritone intervals are also common, forming somewhat angular moves. In general, the performing tradition is distinguished by sharpness, sonority, and loudness of an open vocal style. Sometimes master songwriters decorate tunes with special short overtones (“hiccups”) of a harmonic timbre in a high register. In general, the character of the southern Russian song style can be described as highly expressive, open and expressly emotional, characterized by great spontaneity in the expression of feelings.
Cossack song folklore can be considered as a separate original tradition. It manifested itself most clearly in the art of the Don Cossacks, although in general this tradition does not go beyond the boundaries of southern Russian culture, being its offshoot. The song folklore of the Don Cossacks, as well as in the southern Russian culture, is very characterized by such forms of existence as round dances, wedding games, calendar festivities, rich in dance tunes. A lyrical song of a courageous military type is also common here. The striking stylistic features are polyphony with the lower voice contrasting the upper subvoice in conditions of intense vocal tessitura and an openly emotional active form of vocalization. Along with these performing techniques, the singing of the Don Cossacks also has unique features. The repertoire of the Don Cossacks is full of songs of military content. They tell about the exploits of the Cossacks in battles with the enemies of their homeland. Unique to Russian folklore is the performance heroic epic in a polyphonic ensemble chant.
Wedding song of the Don Cossacks “Fog in the Fury”. Performs Folk ensemble Cossack song “Blagovest”, Volgograd.
The wedding ceremony of the Don Cossacks is eclectic, since it was formed in the 18th century, after the reforms of Peter I. In general, the ceremony is influenced by Ukrainian culture, but also absorbed elements of the northern and western regions of Rus'.
A distinctive feature of Cossack singing, a kind of calling card of this manner, is the virtuoso ornamental echo - “treble”. It is most interesting in the performing style of the inhabitants of the middle Don. It is performed by a tenor and an alto while vocalizing the vowels “o-a-e”, while the voice produces the most complex melodic turns. The song tradition of the Don Cossacks is also characterized by the predominance of the pentatonic scale. It is present in both pure and complicated forms, which forms a unique folklore style. Cossack songs are also characterized by a hammered rhythm. The performance interpretation is dominated by an energetic, impulsive presentation musical material. Singing is often accompanied by rich gesticulation. Sometimes the Cossacks beat the beat with sharp waves of their arms. The inspired, dashing manner emphasizes the strong-willed activity of singing. In a number of cases, their performing style takes on a brave, mischievous character. All the main features of the song tradition of the Don Cossacks developed in the conditions Cossack freemen and became entrenched in the military village community of the 18th–19th centuries. In the environment Kuban Cossacks Socio-cultural differences caused by historical and socio-political processes are also possible. With a general orientation towards the southern Russian song culture, musical traditions are very heterogeneous. In art Kuban Cossacks Some common local features noticeably emerge, which is manifested in the peculiarities of the song repertoire (the presence of drawn-out songs, which are not found in other regions), and in the originality of the musical style (support by the upper supporting voice of the lower leading voice, which has a relatively rounded structure), and in the nature of the performance, softer than that of the Don village residents.
Don Cossack song “Like the Don Cossacks” performed by the Terts (I. Petrov, L. Belov, R. Daruev)
The Ural (Yaik), Orenburg, and Astrakhan Cossacks generally follow artistic traditions Don army. At the same time unique feature of the Astrakhan Cossacks is the presence of fishing labor artel songs in the local song repertoire. The vocal traditions of the Terek Cossacks are distinguished by a bright, lyrical performing style, the predominance harmonic texture in ensemble versions of songs. There is no ornamental echo in this tradition. In songs of a dance nature, the influence of the musical rhythm of the Caucasian peoples is clearly felt. It is possible to accompany singing and dancing by beating characteristic dance rhythms with your palms on an empty basin. A special culture among the Cossacks are the inhabitants of the village of Nekrasovskaya. They lived in exile in Turkey for a long time, until in the early 1960s. did not return to Russia. Their stay in an Islamic country left an imprint on all types of artistic creativity, and even on traditional costume. They also developed a special style of performing ancient Russian songs, mainly of Don Cossack origin. They are sung in chorus in a heterophonic manner with abundant use of oriental melismatics. In a manner typical of a number of eastern singing schools, their singing has a somewhat nasal sound with a sharp and directly sent sound.
The leading place belongs to the Central Russian tradition. Geographically, it is concentrated around Moscow and adjacent regions, that is, it is distributed in the Moscow, Vladimir, Nizhny Novgorod and other central regions. Its emergence occurred during the period of strengthening of the Moscow state in the 16th–17th centuries. Later, the musical folklore of the Ivanovo, Yaroslavl and Tver regions began to be included in this song tradition. The folklore of the Kaluga, Tula and Ryazan regions carries features of both central and southern Russian culture. The most important characteristic of the folklore of the center of Russia was the predominance of the lyrical song genre. Works of this nature clearly predominate. The lyrical song of the center of Russia also carries a special ideological and artistic meaning. For everyone, even instrumental works there is a clear attraction to the lyrics. This affects the structure and aesthetic features wedding ceremony: the lyrical mood prevails in it. Lyrical songs actually become the dramatic core of the wedding ceremony. Another dominant genre of the wedding ceremony are songs of praise, although they are very life-affirming, cheerful in nature and are often accompanied by dance movements. This shows closeness to the southern Russian tradition. Among the round dance songs of the center of Russia, smooth, leisurely ones prevail. They are also very lyrical. The Central Russian round dance is characterized by the participation of solo dancers who reinforce the meaning of the song with dance movements.
Lyrical song of the Tver region “Lark”
Their expressive hand movements are called “reasonings” in folklore tradition. Calmness is an important feature of the song tradition of Central Russian folklore. Songs of later genres (quadrilles and ditties) are also performed calmly, leisurely, with a soft lyrical mood. The Central Russian vocal style approaches the academic one, retaining some characteristic folk features, which include articulation and pronunciation of words close to colloquial. Central Russian songs sound predominantly in the middle and high registers, very soft and collected.
A drawn-out mowing song. Collected in the Kaluga region. Folklore ensemble of the Moscow State Conservatory. Artistic director: Natalya Gilyarova. Moscow.
The folk musical tradition of the middle Volga region can be distinguished as a special component of the system of Russian folklore. This includes the folklore of the Ulyanovsk, Samara, Saratov and Penza regions. They are partially manifested in the singing of the Russian population of Tataria, Bashkiria, Mordovia, Chuvashia and Mari El. This song tradition was formed in the 16th – early 18th centuries. Its appearance is due to the processes of settlement of the southern and southeastern outskirts of Russia. The song tradition of the Volga region is very different from the traditions of other regions, since it was influenced by the neighboring Finno-Ugric and Turkic peoples. The economic conditions, which are reflected in the content of song creativity, also differ sharply from other territories. Comparatively more severe natural conditions, the development, in addition to peasant industrial production, predetermined, in particular, the absence of dance movements and rhythms in the song culture of the Volga region. At the same time, slow round dances (“circles”) are predominant. They are usually timed to coincide with certain dates of the peasant calendar (mainly spring holidays). This association is a local feature, akin to the southern Russian culture. The wedding ceremony of the Volga region is characterized by the predominance of songs with lyrical content. They are performed at a moderate tempo, which brings the Volga singing style closer to the Central Russian one. In the wedding ceremony, the tears and lamentations of the bride also occupy a large place, which in to a greater extent brings it closer to the ritual of the north of Russia. Similarities with the southern tradition can be seen in the songs of praise. Songs of the Volga region have a developed polyphonic texture with a predominance of harmonic means. The nature of the sound of the songs is very unique. It is characterized by a wide arrangement of voices using a soft middle and light head registers. Singing with “thin voices” is predominant, thanks to which a special transparency and “airiness” of choral sonority is achieved. The high upper voice, which is often duplicated into an octave by one of the lower voices, acquires relative independence. This manner predetermines associations with northern polyphony. Thus, many national features of Russian are manifested in the songs. musical folklore. Important feature is a developed, wide-ranging melody that becomes the most important means expressiveness. The leading genres are men's songs of freemen and military lyrics. The very terminology of song performance, associated with storytelling (“telling a song”), suggests its epic nature. Often singing is accompanied by a Saratov harmonica, less often by a balalaika, violin and reed pipes. In general, the musical-figurative structure of the Middle Volga tradition is distinguished by breadth, full-bloodedness and restraint in the expression of feelings.
Russian folk song "The Volga-river is deep." Spanish Natalia Muravyova
A special artistic and aesthetic variety is represented by Russian musical folklore, which exists in a vast territory located beyond the Urals in Siberia and in Far East. The peculiarities of the settlement of this territory by Russians determined its diversity and multivariance. In Siberian folklore there are several rather isolated and original traditions. Among them one can highlight the folklore of old-timers. It belongs to the descendants of those who settled in Siberia in the 17th – early 18th centuries. Another group is represented by the song culture of the Old Believers. Among them, the song tradition of the “Semeyskie”, living in Transbaikalia, and the “Poles”, who settled in Altai after the decree of Catherine II, stands out. special cultural tradition represent the customs of the Siberian Cossacks, a separate group is represented by the song traditions of the late settlers.
The tradition of the old-timers is of greatest interest. It dominates local folklore. All other, later traditions actually developed under its influence. This style of performing folk songs is found in Altai, the Tomsk region, Ilim, and Lower Tunguska. Its main quality is great composure, rigor and severity. The songs of the old-timers often sound in an extremely low, “sullen” register; they are characterized by a slow or rather moderate pace. The stylistic features of Siberian polyphony include parallelism of thirds with the leading role of the lower voice; widespread use of Mixolydian and Dorian fret paints. Reliance on everyday scale is also characteristic. Song stanzas, as a rule, are separated from one another. Within song stanzas, caesura-pauses are typical, dividing the musical thought. Often they fall in the middle of a word. At a wedding, the ritual of which is close to the northern one, strict in character, steppe songs of lyrical or lyrical-epic content are heard. The predominant one is a drawn-out “voice” song.
In the wild steppes of Transbaikalia Khor im. Pyatnitsky
The Semei song tradition seems completely different. They are descendants of the Old Believers of Transbaikalia. The artistic coloring of these songs is very bright and catchy. Semeyskie songs have a cheerful, strong-willed character. Their stylistic features are rich in sound, their texture is polyphonic. The polyphony is based on the dominance of two leading singers - bass and tenor. The rest of the ensemble fills the sound space between these extreme voices. The close arrangement of voices and their interaction according to the principle of contrasting polyphony leads to the fact that tart, hard harmonies constantly appear in the vertical choral texture. Therefore, despite the “calm” middle register, the songs sound very intense and rich. In the folklore of the Semeis, who lived in a foreign cultural environment, some medieval traditions of singing art, so interesting for modern researchers, turned out to be preserved.
The tradition of the Altai Cossacks is very original. This tradition is very close to the vocalization style common among the Cossacks of the Don, Ural, and Terek. However, Siberian Cossack songs are characterized by softness and lyricism. Altai Cossacks sing in a low chest register, quietly, as if humming. The songs also have a developed polyphonic texture. Among the later settlers of Siberia, the peculiarities of the song style are manifested primarily in the repertoire. Many ritual songs inherit the traditions of singing in the area where the settlers came from. The lyrical song repertoire is close to the traditions of the old-timers.
The Siberian repertoire is also dominated by prison songs, which is due to the special socio-political status of the local region. The musical folklore of the Urals (Perm, Yekaterinburg, Chelyabinsk regions) combines the traditions of the North, Volga region and Siberia. Since the development of the Ural lands was carried out mainly by settlers from northern regions(Novgorod, Arkhangelsk, Vologda, Kostroma, Vyatka) and the upper Volga region, the melodic features of these regions were brought to the Ural soil. Ural folklore was also influenced by the culture of aboriginal regions, as well as immigrants from the south of Russia, assimilated into the Russian environment. In addition, the Ural folklore was influenced by the song traditions of the peoples of the Volga region. As a result, a special folk musical culture of the Urals was formed. The local style of performing songs is manifested in the characteristic pronunciation of words during singing (with softening of hissing consonants). The metrorhythm of Ural wedding songs is extremely complex and whimsical, alternating two-beat, three-beat, five-beat, and seven-beat structures.
Each of the listed song traditions is unique and original, although they are in constant interaction. Some song traditions have become more widespread geographically and have formed unique zones of singing art.
Yuri Alexandrovich Tolmachev,
Honored Artist of the Russian Federation, Honored Worker of Culture of the Russian Federation, Professor
Published in: Folk musical creativity: textbook / Yu.A. Tolmachev. – Tambov: Tamb publishing house. state technical University, 2006
Vintage Russians folk songs, collected during folklore expeditions in different areas Russia from the 1970s to the 2000s, including Cossack songs and ditties, performed by a candidate of philological sciences, researcher at the Institute of Slavic Studies, participant folklore ensemble“Salting” Lydia Gavryushina.
Recorded in the village of Ramenye, Selizharovsky district, Tver region, on August 17, 2012.
Shooting - Alexandra Kirillina
Musical performance as a way creative self-expression in art. Accumulation and generalization of musical and auditory impressions of second-graders for the 2nd quarter. Performing familiar songs, participating in group singing, playing music on elementary musical instruments, conveying musical impressions of students
Lesson 17. Music in folk style. Write a song.
Folk musical traditions of the Fatherland. Observation of folk art. Musical and poetic folklore of Russia: songs, dances, round dances, dramatization games. Folk and professional music. Comparison of melodies of works by S.S. Prokofiev, P.I. Tchaikovsky, search for features that make them similar to folk tunes and tunes. Vocal and instrumental improvisations with children on the texts of folk songs, jokes, determination of their genre basis and characteristic features. Folk musical traditions of the Fatherland. Observation of folk art. Musical and poetic folklore of Russia: songs, dances, round dances, dramatization games. When learning playful Russian folk songs “Fair maidens came out”, “Boyars, and we came to you”, children will learn techniques for voicing folklore songs: speech pronunciation of the text in the character of the song, mastering movements in “role-playing game”.
Lesson 18. Farewell to winter. Meeting spring.
Music in folk rituals and customs. Folk musical traditions of the native land. Folk musical traditions of the Fatherland. Russian folk holiday. Musical and poetic folklore of Russia. Learning Maslenitsa songs and spring chants, games, instrumental performance of dance tunes.
Topic of section V: “In musical theater” (5 hours)
Lesson 19. The fairy tale will come.
Intonation and figurative analysis of already familiar literary and musical works.
Lesson 20. Children's musical theater.
Songfulness, dancing, marching as the basis for the formation of more complex genres - opera. Musical and speech intonations. Learning the song “Song-Argument” by G. Gladkov (from the film “New Year’s Adventures of Masha and Viti”) in the form of a musical dialogue. A generalized idea of the main figurative and emotional spheres of music and the variety of musical genres. Opera. Musical theaters. Children's musical theater. Singing voices: children's, women's. Choir, soloist, dancer, ballerina. Songfulness, dancing, marching in opera and ballet.
A generalized idea of the main figurative and emotional spheres of music and the variety of musical genres. Ballet. Musical development in ballet.
Lesson 21. Opera and Ballet Theater. The conductor's magic wand.
Musical theatres. Opera, ballet. Symphony orchestra. A generalized idea of the main figurative and emotional spheres of music and the variety of musical genres. Opera, ballet. Symphony orchestra. Musical development in opera. Development of music in performance. The role of the conductor, director, artist in creating a musical performance. Conductor's gestures.
Lesson 22. Opera “Ruslan and Lyudmila”. Scenes from the opera.
Opera. Musical development in juxtaposition and collision human feelings, those artistic images. Various types music: vocal, instrumental; solo, choral, orchestral. Forms of music construction.
Lesson 23. “What a wonderful moment!” Overture. Final.
Opera. Musical development in the comparison and collision of human feelings, themes, artistic images. Various types of music: vocal, instrumental; solo, choral, orchestral. Comprehension of the general laws of music: the development of music - the movement of music. Overture to the opera.
Topic of Section VI: “In concert hall"(5 hours)
Lesson 24. S. Prokofiev. Symphonic fairy tale "Peter and the Wolf".
Musical instruments. Symphony orchestra. Musical portraits and images in symphonic music. Basic means of musical expression (timbre). Musical instruments. Symphony orchestra. Getting to know appearance, timbres, expressive possibilities musical instruments symphony orchestra. Musical portraits in symphonic music. Musical development in the comparison and collision of human feelings, themes, artistic images. Basic means of musical expression (timbre).
Uporov Ignat
The origins of Russian folk song. Second life folk music in remixes, films, scenography.
Download:
Preview:
Municipal educational institution "Secondary" secondary school No. 79"
Project competition “First Steps”
Folk music:
Tradition and innovation
Performer: Uporov Ignat
Student 4A class
Municipal educational institution "Secondary school No. 79"
Teacher – Uporova I.A.
Perm, 2009
Page
1. Introduction……………………………………………………………………………….4
2. Folk music: traditions
2.1. “Where are you from, Russian, music originated…”…………5
2.2. Genre diversity of folk songs………………6
2.3. Musical folklore ………………………………… 7
2.4. Folk instruments ………………………………….. 7
3. Folk music: innovation……………………………………………………... 8
- Conclusion…………………………………………………………. 9
- Bibliography……………………………………………………… 10
- Sheet music application………………………………………………………... ...11
EXPLANATORY NOTE
This project is relevant and of interest to any person - musician or layman. After all, all folk songs are about our lives. Folk art is a school of patriotic education.
The child grows from lullabies to epics, prepares to comprehend complex world. Folklore attracts the attention of children and youth to the history and culture of their native land. Folk songs contribute to the comprehensive development of personality.
Song and music help overcome the language and cultural barriers that arise between grandparents and grandchildren.
The work is structured as follows:
The second section reveals the origins of folk song and its richness. Introduces musical folklore and a variety of musical instruments.
The third section reveals the role of folk song in human life, traditions and innovation.
The appendix of this work presents a sheet music application, music tracks of folk melodies in modern processing, as well as presentation and videos.
1. Introduction
The role of folk songs in human life
The customs of our ancestors are distant,
and very close today. They are hidden
in manuscripts, archives, alive in many
features of our days. And even trampled
It seemed as if they were coming to life in our hearts.
MM. Gromyko
Slide 3 Russian folk song is a treasury of song creativity, “an example of truth and beauty,” an invaluable asset of the Russian people, who are the representative of Russia, and therefore the exponent of its interests, history and culture. Russian folk song is a confession Slavic people about Russia, its great past, present and future.
“Being the pinnacle of folk poetry, where the word is of paramount importance: “the song is spoken, and the melody comes on its own,” they said in the old days, Russian folk songs leave a trace of an elevated state and insight in the soul of everyone with their melodies that speak of the spiritual qualities of the Russian person. Covering his entire life, they express his fate, everyday life, work, spiritual world and character traits, and therefore have the enormous wealth of their varied and diverse arsenal, the inimitability of their shades and intonations: these melodies are sometimes sublimely simple, strict, contemplative, sometimes tender, touching, sad, sometimes mischievous, mocking, ironic love songs, wedding songs, ritual songs, dance songs, labor songs, coachman songs, etc.” 1
Russian folk songs were and remain beloved by their people; they have a special way to human soul: they make us kinder, cleaner and stronger, healing our souls.
Based on a folk song, folk culture singing, all modern academic professional vocal cultures and schools arose and developed, and the characteristic features and characteristics of national musical cultures took shape. Acquaintance with folk songs expands the understanding of the folk musical and poetic language.
And today Russian folk song lives among the people with its own range of images, original musical expressiveness, with its “weaving”, dressed in the clothes of artistic truth, which in itself deeply touches, giving rise to experiences.
Nevertheless, Russian folk song has enriched and today enriches all musical genres. The singing compositions of the people were sung and are sung today by individual singers who have natural voices, preserving for the current generation of people the art of singing and telling, especially for Russian youth, who must realize the greatest value, spiritual beauty, boundless musicality, which are hidden in Russian folk song.
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Vitvitsky K.Z. "Spiritual Bel Canto" - Perm Printing House LLC Book, 1990
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2. Folk music: traditions
“Where are you from, Russian, music originated...”
Where are you from, Russian?
Was the music born?
Either in an open field,
Or in a hazy forest?
Are you happy? In pain?
Or in a bird whistle?
Tell me where from
Do you have sadness and daring?
Whose heart did you beat in?
From the very beginning?
How did you come?
How did you sound?
The ducks flew by -
The pipes were dropped.
The geese flew by -
The harp was dropped.
Sometimes they are in the spring
We found it and were not surprised.
Well, what about the song?
With a song
Born in Rus'.
G. Serebryakov
Many folk songs were composed in a time distant from us, when no one was taught music, when there were no musical instruments, music schools(and ordinary ones too), when it was almost impossible to meet a musically literate person. In those days, songs were composed by self-taught people, amateurs and masters of singing and playing instruments that they invented themselves. They were very talented people- this can be seen from the many beautiful ancient songs that have come down to us.
The most ancient folk songs (peasants) were composed in villages, then in cities (workers', revolutionary). The melody and lyrics were almost always composed at the same time, often by the same person. The folk song was created through labor; it is an integral part of the peasants’ existence, these are their joys and sorrows, holidays, winter gatherings...
Folk songs were not written down (after all, they were composed by people who did not know how to read and write), but were sung by ear, passed on from one person to another, from family to family, from village to village, from generation to generation. Slide 4
A person’s acquaintance with folk art begins from the cradle, with lullabies, pesters, and nursery rhymes. Old Russian wordto lull, to lullmeans not only to speak, to persuade, but also to persuade. They often sang spiritual poems to the music of a lullaby. A lullaby brings you to sleep and calms you down. Lullabies- these are conspiracies, amulets based on the magical power of words and music.
From the very first minutes of his life, the child finds himself not in the chaos of sounds, but in the power of words and music. Even the most ordinary stretches were accompanied by songs - sayings. As a result, imperceptibly, by the age of two or three, the child turns out to be fully prepared for independent creativity. He went through the necessary musical and creative school(see Music Appendix, page 10)
Genre diversity of folk songs
Genre is a French word that denotes a historically established form, type of work in art. The following genres are distinguished in music:
- By method of performance (vocal - solo, ensemble (several people), choral; vocal - instrumental; instrumental - solo, ensemble and orchestral)
- By purpose (march, dance, song, lullaby, ditty, etc.)
- According to the place and conditions of performance (theater, concert, chamber film music, etc.)
Slide 5 “Song is the soul of the people,” we hear from the musicians. D. B. Kabalevsky called the song one of the three pillars on which all music rests. There are very different songs: lullabies, children's jokes, counting rhymes, teasers, wedding songs, drawn-out songs, lyrical songs, telling about female share, epics telling about the exploits of ancient heroes. In songs, as in a peculiar folk encyclopedia, the whole human life is told, that is, the genre content of Russian folk songs is diverse.
In the Russian village, a song accompanied a person literally all his life. They lulled the baby to sleep with songs, and older children sang counting rhymes, teasers, and nursery rhymes. The boys and girls sang when they danced in circles in the meadow. They sang while doing handicrafts, on the road and at home, at work and on vacation. There was no wedding ceremony without songs. And the man passed away to the sounds of a funeral lament - a song - and weeping.When landowners forced their peasant women to harvest crops in their gardens, they demanded that women and children sing songs so that they would not eat their berries, vegetables and fruits. When people were working hard, the song helped them do something at the same time as a team, and this made their work easier. For example, when building a house, a cowshed, a barn, or while barge haulers were working, it was easier to keep up with a song or to pull a barge loaded with the owner’s goods.
Russian people have always been sensitive to beauty, he loved the fields and forests of his Motherland, its nature, and sang this in poetry, in songs, in drawings, and in music.
Slide 6 One of the favorite genres of the Russian people was and remains the ditty. Ditty - cheerful, mischievous couplets, often satirical content. It goes to quitters, lazy people and couch potatoes, slobs and moneychangers.
The word "ditty" comes from "frequent", that is, fast. In some places they are called ditties"choruses". These are fast songs with a clear rhythm. Their melody is very short, just one verse, which is repeated many times with different words.(see sheet music appendix page 12)
Musical folklore
Slide 7 Folklore – folk art. English folk - people, lore - teaching. Together these words - folklore - translated as"folk wisdom".This is exactly how, respectfully and even sublimely, it is customary all over the world to call oral musical and literary folk art. Indeed: the works of oral folk art embodied folk experience, traditions, worldview, that is, folk wisdom has really been conveyed.
Musical folklore includes folk songs and dances, epics and instrumental tunes. Unlike instrumental music, folklore does not know its authorship. The work lives in oral tradition, passed on from one performer to another, and sometimes modified. “Folk songs, like musical organisms, are by no means the compositions of individual musically creative talents, but the works of an entire people,” wrote A.N. Serov. Each of them is a product of the entire life of the people, their history and way of life.
Slide 8 The most ancient layer of folklore, that is, folk music, is peasant songs: calendar songs (for each season - their own), chants, sentences, and later urban ones appeared: soldiers', workers' folk songs. Children's folklore- nursery rhymes, tongue twisters, riddles, fables - are also reflected in children's folk music(see sheet music appendix page 11)
Folk instruments
Slide 9 The man listened to the drawn-out singing of the bow string, the blows of clubs on dry tree trunks, and the whistle of cut reeds. History has not preserved the names craftsmen who made the first musical instruments- harp, balalaika, pity, horns, pipes, rattles, spoons. The musical symbol of the Russian people is the balalaika and accordion.
Guitar - plucked string instrument, one of the most common instruments. Any vocal-instrumental ensemble begins with a guitar. Tourists, when going on a hike, do not forget to take a guitar: it is a good song to sing around the fire in the evening! The guitar sounds at home and on the stage, in the forest and in the concert hall. And in my project -"Folk music: traditions and innovation", folk songs and melodies will be performed in modern arrangements performed by the guitar.
3. Folk music: innovation
Slide 10 For many centuries, the peoples of the world have composed songs as a chronicle of their lives. They contain joys and sorrows, successes and difficulties, rituals and games, memories of the past and dreams of the future.
For a poet, composer, artist, like for each of us, there can be no nature without man, just as there can be no man without nature.
Folk song, as a source of living water, gave composers inspiration and taught them beauty and skill. Simple song melodies in the works of composers often turn into richly decorated orchestral melodies.
Folk song, and more broadly all musical folklore, is the basis of professional composing. “The people create music, and we, artists, only arrange it (arrange the music, decorate it),” M.I. once said. Glinka. In many works of Russian composers we hear the melodies of folk songs and dance rhythms. And all Russian music, without exception, is imbued with intonations drawn from native folklore, the smallest turns of phrase, which create the difference between one national musical culture and another.
Folk music, folk tales, epics, and legends formed the basis of many works by great composers:
- P. Tchaikovsky First piano concert(Ukrainian settlement “Vesnyanka”)
- M. Mussorgsky opera “Khovanshchina” (the opera contains melodies very similar to folk songs and genuine Russian folk songs)
- N. Rimsky - Korsakov Opera - fairy tale “The Snow Maiden” (Lelya’s songs, each as if woven from folk tunes. It was these songs and Lelya’s shepherd’s tunes that warmed the Snow Maiden’s cold heart and filled it with love)
- M. Glinka “Kamarinskaya”
- G. Sviridov “Kursk Songs”
- S. Prokofiev cantata “Rise up, Russian people...”(see Music app)
In films and cartoons, directors use folk melodies, rhythms, songs, but interpreting them in modern rhythms (see Music app).
- Film "We are from the future"
- M/f “Alyosha Popovich and Tugarin the Serpent”
4. Conclusion
Slide 11 Folk music is a mirror of the life of the people, which reflects not only certain events in the life of the people, but also the spirit and atmosphere of their entire life. Folk music played and continues to play a huge, decisive role in the emergence and development of professional musical creativity and performance.
Through musical folklore we come into contact with the traditions of our ancestors, rituals, and customs. Activities that are based on the principles of folklore creativity develop the child’s artistic, imaginative, associative thinking and imagination. The very nature of musical folklore presupposes its improvisational basis, combining poetry, music, and plastic movements.
Songfulness and melodiousness - characteristic features Russian folk music and the composer's music that grew out of it. If they say about a song that it has become folk, this is the highest assessment of the song or instrumental music.
5. Bibliography
1. Video materials from the film “We are from the future”, from the film “Alyosha Popovich and Tugarin - the Serpent”
2. Gromyko M. M. “The World of the Russian Village” - Moscow “Young Guard”,
1991, 446s, ill.
3. Kritskaya E.D. Music 2, 3, 4 grade – Moscow “Enlightenment”, 2002. –
127 p.
4. Maksimova T.S. Music 4th grade – Volgograd “Teacher”, 2006. – 141 p.
5. Mikhailova M. A. “And at our gates there is a merry round dance”
(folk holidays, games and entertainment) - Yaroslavl: Academy
Development: Academy Holding, 2001 – 224 p.
6. Popov V.S. "Russian folk song in children's choir" - Moscow,
"Music", 1985 - 80s.
7. “One, two, three, four, five, we’re going to play.” (Russian children's
Game folklore). Compiled by Novitskaya G. M., Naumenko G. –
Moscow "Enlightenment", 1995. - 240 s.
8. Reading book for children’s reading – Moscow “Rosman”, 2007. – 464 p.
6. Music app
1. Kitten - cat
(lullaby)
Oh you little kitten,
Little gray kitty tail!
Come, cat, spend the night,
Rock my Sonechka.
I'm your cat, cat
I will pay for the work:
I'll give you a piece of the pie
I'll fill a jar full of cottage cheese,
I will knit a scarlet scarf,
I'll tie your neck.
2. Little lambs
Barashenki
Krutorozhenki,
They walk through the mountains
They wander through the forests,
They play the violin
They amuse Vasya.
3. A goat walked along the bridge
And she wagged her tail.
Got caught on the railing
It landed right in the river.
Who doesn't believe is him.
Get out of the circle!
4. One, two, three, four
1. One, two, three, four, 2. I jumped, I danced,
I was taught to read and write - I broke my leg
Just galloping across the field Mama began to feel sorry.
Perm region 5. Burn, burn clearlyPosted by St. Petersburg Conservatory,
6. Ditty
- At a physical education lesson
I go to the sports hall,
I'll play basketball
And then I'll go home.
- We are sitting in class
And we look out the window.
Let's play, let's sing
We'll go home together.
My family's musical traditions. Ditties.
Party" href="/text/category/vecherinka/" rel="bookmark">parties, and when just lonely in a blizzard winter evening I want to sing while accompanying myself on the piano. We give special honor to Russian folk songs. We know a lot of them, we sing, dividing the song into voices, male, female, children... and yet I would like to tell you in more detail about one genre of Russian music, loved by all members of our family:
“There is joy in the song, there is sorrow in the song,
In song and fun.
I only find it in the song
Comforter to my heart" -
did you find out? Of course these are ditties! There is no such person in Russia who does not know ditties. I didn’t remember at least one of these, sometimes mischievous, sometimes sad songs, whether he was a city dweller or a villager. What shades, emotions, mischief and jokes does she not convey in her four lines! You're amazed! Chastushka is a huge world, sparkling and mischievous. “Small and remote” - they say about ditties, because these short songs have a lot of humor and wit. A ditty is funny story, small musical story. New Year, Maslenitsa, Easter, Trinity, birthday - none of ours family holiday can't do without ditties.
Traditionally, ditties were performed to the same melody in whole series during celebrations with an accordion, balalaika, “under the tongue” or without musical accompaniment. Some scientists believe that the ditty was born a very long time ago, that songs similar to the ditties were sung and danced to by wandering artists - buffoons - back in the 17th - 18th centuries. Others are convinced that the ditty as a special song form did not appear earlier than the middle of the last century. In the famous four-volume explanatory dictionary Dahl does not have the word “ditty” (in the sense of “short song”), so the second point of view seems more convincing to me.
“...She lives like a person,
And she is not forgotten among the people.
Everyone loves her and passes her on
From generation to generation.
Once you hear it, there is no peace,
You'll be with someone like this all your life.
You kids, only seven years old,
The ditty is 100, or maybe 200!”
At that time, only young boys and girls sang them while dancing, on a walk. In a close circle, boys and girls, stamping their feet to the sound of an accordion, said ditties.
The word “ditty” was invented by the Russian writer Gleb Uspensky, before these funny short songs were called “korotushka”, “khokhoshka”, “taratorka”, “matanya”, “quirk”. Most of the ditties are very funny, it’s not for nothing that the ditty is called a musical joke. In ancient times, older people did not consider ditties to be serious songs, they considered them the fun of the young, but time passed, the young grew old, but they did not forget the songs of their youth. Gradually, the ditty became a song for all ages: girls go into the forest to pick mushrooms and berries, they sing forest ditties, they see off a soldier to war, they sing front-line ditties, there are ditties that are awkward:
“The tractor climbed the birch tree,
I skinned all my knees,
Well who cares
Maybe his nest is there!” -
and yet main topic ditty joke - love and lovers. Meetings, courtship, dates, partings. Ditties about love are called “suffering.” The suffering performed by my mother sounds with special warmth:
"We'll stand next to you
Shoulder on shoulder,
So as not to ache, not to suffer
My heart goes out to you..."
Our family approaches songs with soul. It’s impossible otherwise...
In its best examples, the ditty not only preserves the inexhaustible riches of Russian speech, but also willingly absorbs words and expressions brought by new times. Completely new ditties are constantly being created, in which the old is only a melody, a familiar form and inexhaustible folk humor.
Musically, the specificity of the ditty is the absence of an individual tune. There are local types of tunes to which most ditties of a particular region or locality are performed. Meet “Pavlovsk ditties” - the result of our family creativity, folk music, words - Orlyukovs.
Pavlovsk ditties
 |
Our town is small,
It's called Pavlov.
We sing about him with our souls,
The song just flows.
More beautiful than Pavlovsk land
Can't be found in the whole world.
The people here are skilled -
Metalworkers, artisans.
Doesn't get boring all year round
And dances and sings
Pavlovsk resident, Pavlovsk resident -
Amazing people!
All of Russia knows us,
Produced by the city of PAZ.
Half the country is fighting
The brakes are breaking!
Pavlovsk streets,
crooked lanes,
Oka conversations,
Fighting ganders.
Someone is going abroad
To the sea shores,
Well, the wave caresses us
Blue-eyed Oka.
Yellow Pavlova lemon
Familiar to everyone in Russia.
It grows from the ground in a pot,
A piece of sunshine on the window.
That means a million dollars
And in Pavlovskaya side
Lemons are ripening on the window.
Folk crafts,
Noble people
From old to small
We send you greetings from Pavlov!!!
The emotional tone of most ditties is major, musical basis- short one-part, less often two-part, melodies performed semi-speaking or melodiously. When you listen to ditties, you vividly feel their connection with the long-standing traditions of our people, with its character, with centuries of its history, with all that near and dear that for all of us is included in the concept of Russia. Everything, literally everything, can be expressed in a ditty; these short songs: crafty, lively, sincere, funny and sad are loved by many. And in our time, every person, when asked if he knows what a ditty is, will answer in the affirmative, and perhaps even perform one of them.
What is so attractive about ditties? And the fact that you can perform the ditty everywhere: on the street, in the field, at a walk, at a meeting, on the stage, at a party with friends, at a family celebration and on a campfire. And the fact that adults, youth, and children can sing them. The Russian ditty is amazing. The word “ditty” is understandable to everyone without exception. So let the ditty live, dispel sadness - melancholy, teach intelligence - reason. Let's keep her in our hearts - cocky, sneaky and mischievous, she deserves it!
Literature:
"Singing Russia" publishing house " Soviet composer", Moscow 1989.
