Abstract
This article is devoted not only to how language, traditions and the past can serve as a creative resource for the creative activity of youth, but also about the ways music becomes a tool for social memory development by youth at the level of everyday life. In this article we want to consider how the historical memory of modern youth is actualized through cultural practices and interests. Actualization should be understood on the one hand, as referring to the themes of the past, not only to legitimize certain decisions of the state, social movements and public persons, but also to justify, with the help of the past, a certain assessment of current events and incitement to action. Also, a significant layer of research draws attention to the creation of symbolic objects (including music) to demonstrate the specific content of historical representations of various groups and those remembering practices that are relevant to them. Moreover, the level of these practices can be both organized, associated with the actions of formal institutions (the World Forum of Tatar Youth, for example), and relate to direct interaction between people at the everyday level - in our study the thing is about the latter.
Highlights
The object of the study is the Kazan musical Tatar-speaking youth scene, the main informants in the presented case were members of the musical group Baradj
The style of the Baradj group is the synthesis of metal as a western musical trend, and the use of the cultural heritage of the Volga Bulgaria and Tatar national music
We can talk about the connection of the ethnos history, national music, historical memory and ethnic identification in the musical work of the Baradj group
Summary
The object of the study is the Kazan musical Tatar-speaking youth scene, the main informants in the presented case were members of the musical group Baradj. Musical works convey ideas about important historical events for the community, and affect group identity In this context, we can talk about the connection of the ethnos history, national music, historical memory and ethnic identification in the musical work of the Baradj group. We can talk about the connection of the ethnos history, national music, historical memory and ethnic identification in the musical work of the Baradj group Such a connection in society is noted by such researchers as T. The performance of musical works in the national language plays a large role This is an opportunity to stand out against the background of other youth groups in Kazan, but to actualize their (and listeners') ethnic identity. This property of social memory makes it a powerful mechanism for the integration of society and the socialization of youth in it
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