Abstract
Topic: Mordovian folk instruments
Goals and objectives:
Educational: based on the perception of Mordovian folk song creativity, to cultivate love for the native land and its musical heritage, for the past of the Mordovian people, thereby enriching spiritual world children.
Developmental: development of more flexible musical ear, poetic thinking, metrorhythmic feeling, memory, imagination. Development of children's creative abilities, initiative and independence.
Educational: introduce Mordovian folk music, its specific features using the example of calendar and ritual songs.
Progress of the lesson:
I. Organizational moment.
Children's meeting:
- Good afternoon guys!
Educator.
- Who is called a composer? (music composer)
- What composers do you know?
- There is a saying that the composer is the people.
- What does it mean?
- People compose music. And this kind of music is called folk music.
Educator.
- Guys, we live in the largest country in the world, in Russia!
- Do you think only Russians live on Russian territory?
- You're right, guys! Of course, there are many other peoples living there.
Educator. Each nation has its own traditions, its own culture, its own language, its own ornaments, folk instruments and, of course, its own songs.
(watching a video fragment about Russia and Mordovia)
U: The rituals and holidays of the Mordovians are surprisingly musical.
U: Folk songs were often performed accompanied musical instruments.
U: What folk instruments do you know?
U: Guys, the Mordovian people, like all other peoples, have many musical instruments, which are divided into three types: percussion, strings and winds. Let's listen to how masters play Mordovian musical instruments.
(Video fragment - The Torama ensemble plays Mordovian folk instruments)
- Did you guys like the music? What about the performers?
U: Guys, you and I will also play instruments, so that you and I can form an orchestra. The tools that we have are used by both Mordovians and Russians.
- Now we will distribute the roles of music performers. Some of you will sing music, some will dance - beat out a rhythmic pattern, and, finally, some will play instruments.
Are the performers ready?
In conclusion, they perform the piece (some of the children perform a rhythmic pattern; another part of the children perform a melody and several children play instruments).
Educator. Well done boys! You tried really hard! You were good performers!
- Look at our branches! How they have changed! And it's all thanks to you guys. And folk music helped make them like this! After all, this is exactly what we heard in our lesson.
- By connecting these branches, we will get a beautiful magical tree.
Educator: Guys, looking at this tree, let’s think about why we need folk music? And do we need to know and keep in our memory the songs of our native land?
- Folk music is our origins. And even though we are all different nationalities, we feel and perceive music all the same. Therefore, today the Mordovian song united us and helped us create.
Educator: You guys were all very attentive listeners, played the role of composers and performed folk music from the heart. Well done!
Attached files
CHARACTERISTICS OF DANCE MELODIES AND MUSICAL INSTRUMENTS OF THE MORDOVIAN PEOPLE
The folk musical art of the Mordovians developed over many centuries in close interaction with the culture of neighboring peoples. In folk poetry, a musician and dancer are depicted as cheerful and cheerful people
The wide popularity of Mordovian musicians and dancers is evidenced by many materials from the folklore of neighboring peoples. In the Russian comic song "Kalinka-Malinka", recorded by AS. Pushkin in 1830, talks about how a girl washed her veil on the Boldino raft and asked her mother to bring a Mordvin with bagpipes for dancing.
In the traditional Mordovian music and dance art, which has organically grown into the modern life of the people, archaic forms have been preserved, going back to the common Finno-Ugric musical culture.
The dance creativity of the Mordovian people is characterized by developed collective and single (solo) performing traditions. According to their genre, traditional dances are divided into round dances, wedding dances, dance dances, non-ritual dances and those borrowed from Russians or neighboring peoples.
Some types of ritual songs, dances and instrumental dance tunes, associated in the past with the ancient animistic cult of sacred trees, revered animals, domestic animals and birds, others were preserved in the new function of non-ritual songs, dances and instrumental tunes.
Dance instrumental music occupies an important place in the musical art of the Mordovian people.
Traditional types Mordovian dance instrumental music is closely related to certain types of musical instruments, systematized based on the vibrator (sound source): idiophones, membranophones, chordophones and aerophones
The source of sound for instruments of the idiophone class is an elastic solid material. They were used primarily for beating the rhythm of dances in an ensemble with other types of traditional instruments, as well as for creating ritual noise as a talisman in many ritual actions.
The Mordovians used all kinds of household items that accompanied the dance as idiophones; buckets, basins, frying pans, stove dampers. In addition, the dance was accompanied by other musical instruments belonging to the idiomatic group - this is the shavoma - an instrument in an ensemble with others was used to beat out the rhythm of the dances. The sounding body of the "shawoma" was smoothly planed l a birch board 25-30 cm wide impregnated with resin and hemp oil. Using a belt, it was hung on the neck or elbow of the performer’s left hand. The sound was produced with special small wooden hammers and wooden spoons. In a number of places, other musical instruments are used solo and in an ensemble to accompany dances: spoons, a scythe, with the help of which the rhythm of a dance tune was beaten out with the blows of a nail or bolt, bells of various sizes, which were hung along with coins and ringing metal plates from a traditional women's costume. At ritual wedding dances, the ringing of bells, coins and metal records formed a kind of polyphony of two opposing dance rhythms, each of which had its own special structure and timbre shade, determined by the sharp sound of the ringing jewelry of women dancing in a circle, as well as the rattle. This tool was a smoothly planed wooden beam of cylindrical shape, 15-20 cm long, 7-8 cm in diameter, with a handle at one edge and teeth cut along the surface, with a wooden or metal bracket attached to the upper edge of the cylinder and its handle.
In membranophones, the sound source is a stretched membrane made of leather or paper. Several instruments of this class are used in the dance and musical life of the Mordovian people:
a) a comb from a spinning machine or a comb for combing hair, on which thin birch bark or tissue paper was placed;
b) leaf of a tree - a green leaf of birch or linden was applied to the lips, supported by two fingers. As a single instrument it is used to imitate bird voices, and in an ensemble with other instruments to accompany dances or dance tunes.
The sound source of chordophones was one or more strings stretched between two fixed boards and set into vibration by plucking or friction. Such instruments that accompany dances or dance actions include the gusli and violin.
The oscillating body of aerophones is a column of air. The Mordovians had different aerophones with interrupters, longitudinal flutes and flutes with an internal slot, natural pipes without devices for changing the pitch of sounds
Such musical instruments that accompanied dance actions include:
a) bobbin - a spool of thread, one end of which is covered with a thin layer of birch bark or a piece of tissue paper. When playing, the closed side is applied to the lips, and the performer produces one sound by blowing.
b) acacia pod, which is half of a split acacia pod.
c) a whistle flute made of willow rod, 30 to 70 cm long, with a wooden or bone whistle bushing inserted into one end of the tube. The instrument was distinguished by rich performing capabilities. Dance tunes were performed on it.
d) a double clarinet made of two reed tubes of the same or different sizes fastened on the sides, with a length of 17 to 20 cm. In the past, ritual dances and instrumental accompaniments to ritual songs at weddings, shepherd’s songs, as well as everyday dance tunes were performed on such a clarinet.
There were two types of bagpipes, differing in the material from which they were made and the number of pipes. The bagpipes were played mainly for dance, ritual and everyday dance tunes.
Starting from the 19th century, in addition to the instruments listed above, accompanying dance and dance actions, harmonics were widely used - Vyatka, Saratov, khromka and Russian two-row.
Instrumental dance tunes among the Mordovians are divided into tunes, compositionally consisting of two parts that are contrasting in nature - a slow introduction (ushotks - “beginning”) and a fast main part (kshtima - “dance”, “dance”), and the melodies are indivisible in the nature of the parts, consisting of one dance or a whole dance action without an introduction.
The rhythm and structure of dance melodies are square and the size is usually even - two or four quarters.
named after N.P. Ogareva
Faculty of National Culture
Department 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 Mokshas play a role in history Khazar Khaganate, 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 as part of Puresh’s 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 in early XIX V. (“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 in 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, opposing the Russification and change of the Republic, city or country, would always remember their history and would never disappear completely; 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 Bolshie Berezniki. It consists 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. It consists 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. It consists 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%. Center - 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. It consists 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 avarksnemat (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 think 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 off 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 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 typical 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.
You can continue to talk about the fact that more and more Mordovian songs are Russian, after all, after reviewing great amount 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 - Mordvins - Moksha and Mordvins - Erzya, being part of the Finno-Ugric people, are at risk of extinction of the national consciousness. Coming soon to our repertoire village grandmothers there will not be a single Mordovian song left - hence the extinction of the native language and the disappearance of Mordovian self-awareness.
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 the lyrics and tunes. Collection of folk songs, main result thousand years of history among 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 students of special education 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
Ukhvatkina Alina
The work reveals the history of the appearance of Mordovian musical instruments, their purpose, and traces the path of their development. The example of some instruments shows the originality of the Mordovian culture and its connection with nature.
Download:
Preview:
Municipal budgetary educational institution "Kurtashkinskaya secondary school"
Atyuryevsky municipal district of the Republic of Mordovia
Republican educational and practical conference for schoolchildren
"Mordovia through the eyes of children"
Research
Folk music
Mordovian instruments: past and present.
Section "Elementary classes"
Completed by a 4th grade student
Ukhvatkina Alina
Head of Maskaykin
Tatyana Anatolyevna
2018
I.Introduction…………………………………………………………….page 2.
II. Main part…………………………………………………… pages 3-5
2.1. The emergence of musical instruments and their connection with the life and culture of the Mordovians.
2.2. Percussion musical instruments - idiophones……………
2.3. Wind musical instruments – aerophones……………
III.Conclusion………………………………………………………….page 6
Bibliography…………………..……………………….page 7
Appendix……………………………………………………………pp.8-14
I.Introduction
Last spring, our school hosted a regional seminar for teachers of Mordovian languages. Our class prepared an event dedicated to the arrival of spring. For this event, my class and I made an unusual staff, and our teacher told us that it used to serve as a musical instrument. I wondered what other musical instruments the Mordovian peoples played in ancient times. What material did they use to make them?
The relevance of research: The study is interesting and relevant for students who want to learn more about the culture of the Mordovian people.
Problem : Students at our school study the Mordovian language, but not everyone knows Mordovian folk musical instruments, their purpose, the origin of the instruments, their past and present.
Hypothesis : The emergence of Mordovian musical instruments is associated with the culture and way of life of the Mordovians.
Goal of the work : Find out the history of the appearance of musical instruments, their purpose, and trace the path of their development.
Tasks: Study historical, educational, reference literature about Mordovian folk musical instruments; systematize the information received; using the example of some instruments to show the originality of the Mordovian culture, the connection with nature.
Subject of study: Mordovian folk musical instruments, their past and present.
Research methods: analysis, generalization, classification, comparison.
Research work structure: introduction, main part, conclusion, bibliography, appendices.
II. Main part.
2.1. The Mordovian people carefully preserve their musical culture, their songs and tunes, and, of course, folk instruments. After all, our ancestors believed in the magical healing power of sound.(Slide 3)
The traditional musical instruments of the Mordovian people are both the simplest adaptations of objects from the environment and household life, as well as more complex and varied in design specially made musical instruments.
Over time, Mordovian instruments for applied purposes began to become a thing of the past, but national musical instruments took on a new look.
Musical instruments were made from wood, birch bark, plant stems, grass and tree leaves, tree trunks and branches.(Slide 4)
We decided to make some musical instruments ourselves together with dad, and I found some in our school museum.
2.2 . There is a classification of Mordovian folk musical instruments.
The first group is percussion musical instruments (idiophones).(Slide 5)
These include: baydyama, kalderfnema, shavoma, shuftonkutsuft.
The Moksha people endowed paigona with magical qualities as a talisman against diseases and evil forces - these are metal bells strung on a cord and hanging on women’s belts. Believing in their magical power, the bells were hung on a staff. According to legend, the staff belonged to one of the revered gods of the Mordovians. Among the Mokshas this instrument is called baidyama. It was often used in various rituals.(Slide 6)
And this tetrahedral box made from a single birch bar is called kalderfnema. A piece of oak knot is attached to the rope, which hits the box when swinging. With the help of a mallet, signals were given to gather people for lunch.(Slide 7)
The shavom tool is a smoothly planed spruce or birch board. It can be struck with wooden hammers or wooden spoons (kutsuft) - they also served as an independent tool. Shavom was often used in rituals or during the rite of the first day of pasture of livestock, which came after a long winter, as well as to scare away predators from livestock, since it was credited with a special magical power that was capable of scaring away evil spirits.(Slide 8)
A rubel is a wooden board with cut-out transverse grooves for rolling laundry. The household item was used for beating (washing) and ironing clothes. The rubel-valek was also used as a musical instrument. When playing, the ruble is held by the handle with one hand, and the other is moved back and forth along its scars with a wooden spoon or stick.(Slide 9)
2.3 .The second group of musical instruments is wind instruments (aerophones)(Slide 10)
The most common instrument from this group is the nyudi, which has existed since the middle of the second millennium AD. This is a hollow wooden pipe that existed in every Mordovian family. With the advent of a baby, families made a pipe, with a tongue and one hole in the barrel. With each year of the child’s life, a hole appeared on the trunk, and there were 6 of them in total, since at the age of seven the child became a housewife.(Slide 11)
In traditional Mordovian poetry, nudes are a symbol of sadness. “There was a custom of playing lamentable tunes on the nude in the cemetery.” It was also believed that the sounds of nudes could stop bleeding.
Syura is a trumpet made from a bull or cow horn. One side of the thread spool was ground down and inserted into the hole of the horn, and on the other a recess was made for the lips. The syura was used by shepherds as a signaling instrument, as well as a ritual one, supposedly capable of driving away evil spirits.(Slide 12)
The ritual musical instrument of the Mordovians was the Jew's harp. The Mokshans call it Tsingoryama. It is a horseshoe-shaped iron plate with a flexible steel tongue in the middle. The sound of this instrument was used in songs and dance tunes. The most revered animal among the Mordovians is the horse. It is easy to depict the clatter of hooves on this instrument. Mostly dance melodies were played on the instrument.
(Slide 13)
At family calendar holidays, tunes were played on a hollow whistle made of baked clay with playing holes “sevonenyavyashkoma”. Whistles were most often in the shape of a duck, since according to legend, the Supreme God of the Mordovians, Shkabavaz, floated through the water on a stone in the shape of a duck. The instrument has been known since the beginning of the 1st millennium AD. e.(Slide 14)
Torama is an ancient wind signal instrument. It was made from linden rings inserted into each other in the form of an expanding tube. A tongue made of birch bark was inserted inside. According to legend, the toram belonged to the first Mordovian king Tyushte. During his reign, peace and prosperity reigned on Mordovian land. For this, the Mordovians equated him with the gods and endowed him with immortality. Leaving the Mordovian land, Tyushtya left a torama to his people and he bequeathed: “You live, live in friendship, my torama - my trumpet, will, as before, bring you together.”(Slide 15)
From the middle of the 19th century, the balalaika and harmonica, borrowed from the Russians, entered the life of Mordovians everywhere.(Slide 16)
III.Conclusion
To summarize all of the above, I would like to say that Mordovian folk musical instruments first arose as helpers in the difficult life of the forest people and were made from the material that was around them. Subsequently, people began to play them during recreation or on holidays.
Mordovian musical instruments, as well as song creativity, were created and developed over many centuries in accordance with the conditions of life, everyday life and work. The emergence of instruments occurred at various stages of the evolution of the culture of the people and in accordance with the general development of human society and in the interrelation of peoples.
In the traditional musical culture of the Mordovians, instrumental music occupied an important place. As an integral part of the spiritual heritage of the people, it was an integral attribute of the life of the Mordovians, including pagan rituals and holidays (calendar and family); instrumental music was given magical, healing and educational significance.
Currently, many Mordovians national instruments used by folk musicians at song festivals and folklore festivals.
Bibliography
1.Mordva. Essays on the history, ethnography and culture of the Mordovian peoples - Saransk, 2004.-992 p.
2.Mordva: historical and cultural essays / Ed. Col.: V. A. Balashov (ed.), V. S. Bryzhinsky, I. A. Efimov; Manager team Academician N.P. Makarkin. - Saransk: Mordov. book publishing house, 1995. - pp. 463-464.
3.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;
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. svahan 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 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 most ancient cults preserved among the Finno-Ugrians 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. On both sides of the handle, 2 small maple plates were attached 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 long 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. hammer or pestle, notifying residents about 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.). 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. Used during calendar and family holidays for intonation of 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 and inserted into the hole of the horn, and on the other side a recess was made for the lips. 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.). |
 |
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 is fighting for social life. 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 erz. 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 music "S." 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
"MOKSHANSKIE DAWNS" first mordov. operetta. In 3 actions. Music G.V. Pavlova libretto by I.M. Devin and I.P. Kishnyakova per. 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 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. place in concert programs occupied improvisation. 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. IN different 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 includes 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 jazz music“Veise-jazz”, in which the reps participated. 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 the rock show - O. G. Suraev-Korolev “What is happiness?” (1990, libretto by L. M. Talalaevsky) Works by G. V. Pavlov (“Moksha Dawns”, 1974) ), Vdovina (“The Main Role”, 1978), V.P. Berenkova (“The Magician”, 1980). The fairy tales of N.V. Kosheleva “Silver Lake” (1989) were staged on the stage of the State Musical Theater of the Republic of Moldova. V. Kuzina “Once upon a time there was a Bunny” (1997). Lit.: Druskin M. Issues of musical dramaturgy of opera. - L., 1952; Bassargin B.A., Peshonova V.L. Essays on the history of the Mordovian Soviet theater. 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 concreteness ( author's definition“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). 1st performance took place in 1974 (choir and symphony orchestra of 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 V. O. “Song of Military Glory” for comics. choir, reader, soloists and symphonies. orchestra at 5 o'clock N.V. Kosheleva (text by A.I. Pudin, 1985) reflects a protest against war and violence. Song-epic. music means of expression are associated with tradition. muzzle genres. folklore Dept. parts of O. are often performed in concerts. Fully manufactured performed in 1989 (choirs of the Saransk Music School and the Republican Children's Music Boarding School, soloists L.A. Kuznetsova, V.P. Khudobljak, accompanied by piano; conductor - Honored Cultural Worker of the Republic of Moldova S.S. Molina Lit.: Folk singers and composers of Mordovia. - Saransk, 1975; Formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Pages of musical history.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 music occupies a special place in the song creativity of composers of Mordovia. 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 R.: 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. edge, using the melodies of certain people. songs and tunes for colorful timbre and intonation. variations. In 1958 L.I. Voinov wrote the symphonietta 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 with the 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 typical for 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 “The 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 the concertino for piano and string orchestra Vdovina (1967; Komsomol Ave. Mordovia, 1969), in which bright youthful moods predominate, and the basis of the music. language - intonation of muzzles. adv. songs. Concerto for piano and symphony. orchestra G.G. Suraev-Koroleva (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: processing song folklore , 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. translating 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 covered in many ways 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 Shtadol” - “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 1980-90s. characteristic reflection of acute social those, internal of the human world: “Bells” (1988, lyrics by B. Sokolov), “Three etudes-pictures” (1989) by Vdovina, “The Dangerous Truth in Rus'” (2000, lyrics by Sadulin) Terkhanov and others. Cantata-oratorio creativity is represented by the production .: Kiryukova - “30th anniversary of October” (1948, lyrics. 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) Paintings by. 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) Vdovin. 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 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 weddings and farewells 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, and various percussion instruments were also used in ritual performances (calchtsiyamat, shavoma - m.; kaltsyaemat, chavomat - e.; see Mordovian folk musical instruments), frying pans, stove doors. Among the many choreographic acts in modern Mordovian creativity (festive or stage) "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”, “Picking berries in the forest” ). 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). His 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. festivals (“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 of “Multi-remote””, 1986; The Bremen Town Musicians"G. Gladkova, 1987; “Maritsa” 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 (“ Babi revolt"E. Ptichkina, 1987; “Donna Lucia” by Feltsman, 1987; “Knight Bluebeard” by J. Offenbach, 1989; “Dorothea” by T. Khrennikov, 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» Tchaikovsky (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 duck” - “Ducks of the Old Naiman”, “Muraen mazykat” - “Beauties of Murani”, “Tateren pokshchi” - “Girls’ holiday”, “Teshtede peshkse keche” - “Star ladle”, “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.