ГНЕСИНСКОЕ ЭТНОМУЗЫКОЗНАНИЕ В ПЕРСОНАЛИЯХ: ТАТЬЯНА НИКОЛАЕВНА КАЗАНСКАЯ

Abstract

The article is devoted to Tatiana Nikolaevna Kazanskaya (1937–2021), a professional violinist who worked for a long time in Gnessin educational institutions, and at the same time an ethnoinstrumentologist, a talented collector and researcher of the Smolensk violin tradition. Having not received a special education in the field of musical folklore, Kazanskaya turned out to be a born, outstanding ethnoinstrumentologist-field worker with rare intuition and in many ways anticipated the principles of field practice much later. The main period of her collecting activity falls on the 1960s–1970s, when she identified 50 violinists, recorded about 700 instrumental tunes and established the boundaries of the Smolensk violin area. The study of Kazanskaya folk violin culture is characterized by a socio-anthropological orientation, a desire for the practical development of traditional playing techniques, an interest in the process of teaching village violinists, an objective assessment of their musical repertoire. Kazanskaya owns a large number of musical transcriptions of Smolensk violin tunes, among which the score notations of violin and vocal-instrumental ensembles are of particular value. The theoretical studies of T.N. Kazanskaya are distinguished by boldness and independence of judgments. She has interesting observations on the textural organization of Western Russian violin music, stroke technique and structural features of folk instrumental compositions. The acoustic analysis of the pitch in Smolensk violin tunes carried out by Kazan remains a unique experience in the national ethnomusicology to this day.