Traditional Music Culture Research Articles

ХУШАВАЗЫ КАК РАЗНОВИДНОСТЬ ЛИРО-ЭПИЧЕСКОГО ФОЛЬКЛОРА ТАТАР

Статья посвящается изучению некоторых теоретических и практических вопросов по татарскому фольклору, охватывает тему сбора образцов песенного наследия татар, проживающих в разных уголках России. Данная разновидность татарских народных песен на сегодняшний день одна из малоизученных областей в фольклористике. Хушавазы, своими корнями простирающиеся в глубь веков в истории существования музыкальной фольклорной традиции татар, и сегодня находят свое активное бытование в народной среде. Целью исследования является акцентирование внимания на хушавазах, как специфичном лиро-эпическом народно-песенном жанре выявление его характерных свойств и особенностей, как одной из составляющих лирического направления художественного творчества определение территориальных границ распространения образцов жанра среди татарского населения. В статье дается подробный разбор термина хушаваз , анализируются основные теоретические вопросы, связанные с этой разновидностью народных лирических песен. Авторы реконструируют ряд народных песен в татарском народном творчестве, вставляя в классификацию лирических песен еще одну разновидность народного песенного жанра ранее неизученных в фольклористике хушавазов выявляют место и роль татароязычных хушавазов в системе фольклорных жанров определяют их ареал распространения среди татар, описывают общие структурно-содержательные особенности текстов, акцентируют внимание на необходимость включения лучших образцов во вновь составляемые академические тома по национальному народному творчеству. Выдвигая проблему рассмотрения хушавазов в одном классификационном ряде с народными песнями как разновидность жанра, авторы опираются на сходные признаки фольклорных лирических песен и хушавазов ведут речь о характере и музыкальной форме хушавазов, о сочетании пения и сказывания, музыкального сопровождения, об особенностях и отличиях хушавазов от протяжных лирических песен народа и т. д. Эти вопросы не разработаны в татарской музыкальной и словесной фольклористике. Статья основана на материале текстов хушавазов, записанных у татароязычных информантов, проживающих в разных населенных пунктах Астраханской, Омской, Тюменской областях Российской Федерации, а также в Удмуртии и Татарстане. Опора на принципы народности и историзма, системный и комплексный подход к народной поэзии явились тем методологическим приемом, который позволил авторам взглянуть на известные фольклорные явления по-новому, проникнуть в неизведанные до этого пласты традиционной музыкальной культуры татар. Хушавазы имеют определенное место в эволюции татарской народной лирики изучение данной разновидности жанра вносит некоторый вклад в решение вопросов родственных связей между народами, дисперсно проживающими в разных уголках России и за ее пределами. The article is devoted to the study of some theoretical issues on Tatar folk songs, covers the theme of collecting samples of the song heritage of Tatars living in different parts of Russia. This kind of lyric songs of the Tatar people today is one of the little-studied areas in folklore. Hushavaz, with their roots stretching back centuries in the history of the musical folklore tradition of the Tatars, today find their active existence among the people. The aim of the study is to focus on khushavaz as a specific lyro-epic folk song genre identification of its characteristic properties and features, as one of the components of the lyrical direction of artistic creation determination of the territorial boundaries of the distribution of genre samples among the Tatar population. The article provides a detailed analysis of the term hushavaz, analyzes the main theoretical issues associated with this kind of folk lyric songs. The authors reconstruct a number of folk songs in Tatar folk art, inserting into the classification of lyric songs another variation of the folk song genre previously unstudied in folklore of hushavaz reveal the place and role of Tatar-speaking hushavaz in the system of folklore genres they determine their distribution area among the Tatars, describe the general structural and content features of the texts, emphasize the need to include the best samples in newly compiled academic volumes on national folk art. Putting forward the problem of considering hushavaz in the same classification series with folk songs as a kind of genre, the authors rely on similar features of folklore lyric songs and hushavaz they are talking about the nature and musical form of hushavaz, the combination of singing and storytelling, musical accompaniment, the features and differences of hushavaz from lengthy lyrical songs of the people, etc. These questions are not developed in the Tatar musical and verbal folklore. The article is based on material from hushavaz texts recorded by Tatar-speaking informants living in different settlements of the Astrakhan, Omsk, Tyumen regions of the Russian Federation, as well as in Udmurtia and Tatarstan. Reliance on the principles of nationality and historicism, a systematic and integrated approach to folk poetry was the methodological technique that allowed the authors to take a look at famous folklore phenomena in a new way, to penetrate into previously unknown layers of the traditional musical culture of the Tatars. Hushavaz have a definite place in the evolution of Tatar folk lyrics the study of this variety of the genre makes some contribution to the solution of the issues of family ties between peoples dispersedly living in different corners of Russia and abroad.

Attributes of fixation and transcriptions of pastoral pipe music of Ukraine: from the end of the XIX to the beginning of the XXI century

Pastivnytsia tradition and pipe music, the existence of its plays in the centers of pastoral regions of Ukraine (Carpathian, Volyn-Polissya, Dnieper-East Ukrainian zones) are now in the final stage of its natural functioning, state of preservation and research. In this situation, when the dynamics of the pastoral tradition and its rich pipe music has reached the brink of extinction, there is an urgent need for a frontal review of sources of fixation and methods of reconstruction-strengthening the sound of these unique treasures of our traditional music and instrumental culture. The article presents the attribution and review of the maximum possible volume of recordings of pipe material of the pastoral tradition of Ukrainians, recorded by the author personally against the background of transcriptions published in scientific works and collections in recent years. Comparisons of the layers of pastoral pipe music from the end of the 19th to the beginning of the 21st centuries create an amazing «panorama» of the intonation semantics of flute pastoral tunes of this period.

Enlightenment of Confucian Thoughts of Music Education on Contemporary General Music Education

In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.

Musical and instrumental culture of Ukrainians as a component of the formation of national outlook

Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.

The genre of folk song arrangement at the present stage: cultural and historical aspect

The genre of folk song arrangement at the present stage: cultural and historical aspect

The Inheritance Form of Chinese Traditional Music under College Music Education System

In colleges and universities music education system, strengthen the inherit and carry forward the Chinese traditional music, from the point of view of the school, are beneficial to improve college music education quality and effectiveness, to help colleges and universities music education better and the combination of Chinese traditional music teaching, also help colleges and universities music education to fully absorb the cultural charm of Chinese traditional music and national music elements, enrich the college music education content and education resources, and further promote the college music education and the common development of the Chinese traditional music. From the perspective of students, inheriting traditional Chinese music in the music education system in colleges and universities is conducive to enhancing students' profound understanding of the theoretical knowledge of traditional Chinese music, enabling students to better feel the cultural charm and national connotation of traditional music, and solving the problem of disconnection that appeared in the process of students learning music with the development of traditional music culture.

Педагогические условия освоения традиционной музыкальной культуры Сирии будущими учителями музыки России

The article analyses ways to solve the problem of identifying pedagogical conditions for the development of traditional musical culture of Syria by future Russian teachers of music. To this end, the authors provide a theoretical rationale for the hypothesis, according to which the mental characteristics of the traditional musical culture of Syria are its „dialogue” in the ratio of ancient origins and influences, both Arab and European. The historical and theoretical basis for the development of the traditional musical culture of Syria by future Russian music teachers is periodization, which allows to consider Syrian vocal and instrumental music as an independent and original phenomenon on the map of musical cultures of the peoples of the world. Taking into account that the purpose of the study is not only a theoretical justification and testing the model of mastering by the future Russian music teachers the traditional musical culture of Syria, but also experimental testing of the model developed by the authors. The article describes the tasks and content of the statement, forming and verification stages of empirical research. On the basis of obtained results, the author makes a number of conclusions, noting that: the national image of Syria and its traditional musical culture is defined by the historically formed system of values, both related to Arab Islamic civilization and brought European influences. The model of study is represented as a structure of interconnected components: target, meaningful, revealing peculiarities of implementation of civilization, paradigm-pedagogical, intonation, and cultural approaches and reflexive. Implementation of the model implies the study by students of historical and theoretical aspects of formation and development of the traditional musical culture of Syria on the basis of cultural approach; comparative analysis as a way for future Russian teachers to understand the ethnonational nature of Syria ‘s traditional musical culture in the context of a paradigm-pedagogical approach; the interpretation and reflection of national self-awareness, as a way to allow learners to gain insights into the characteristic ethnic-intonation of Syria ‘s traditional musical culture based on an intonation approach.

Cultural and educational significance of the uzbek musical culture

The article draws attention to the actual problems of spiritual education of musicians and singers through the traditional Uzbek music culture, as well as the use of theories of the great thinkers and musicians of the East. The music affects the person in many ways: the melody and its musical expressions affect the person's emotions and create different emotions and emotions. The song's textual content is not only emotionally appealing but also inspires and motivates the listener. The listener perceives the song not only with its loneliness but also with its consciousness, as the text of the song, the ideological content expressed in it, has a definite relation to the spiritual problems reflected in the song. “The artistic power of classical music is in their harmony with the hopes, emotions, virtues and realities of the people, reflecting the spirit and pain of the people, and the harmony of the words, the tone, the words and the music. That is why in art studies the works of pre-revolutionary Uzbek ethnography and professional music are integrated into the concept of folk music. These works of culture are, in fact, an endless source of aesthetic and spiritual ideas that can be used successfully in the education of young people today. The listener perceives the song not only with its loneliness but also with its consciousness, as the text of the song, the ideological content expressed in it, has a definite relation to the spiritual problems reflected in the song. This effect is extremely complex and powerful. Every promoter of our music has such a strong sense of responsibility that one must feel a great responsibility. In other words, the profound study of the laws of our great musical heritage, the successful implementation of their own performances, and the continuity of national traditions. Consequently, music, including Uzbek traditional music, is an important part of spiritual education.

ЛАНДШАФТЫ БЕЛАРУСКАЙ ЭТНАМУЗЫЧНАЙ АРХАІКІ: РАКУРСЫ ВЫВУЧЭННЯ (ПА СТАРОНКАХ ВЫДАННЯЎ ЭТНАМУЗЫКАЛАГІЧНЫХ ПРАЦ МАЛАДЫХ МУЗЫКАЗНАЎЦАЎ БДК/БДАМ 1991–2013 ГГ.)

Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].

Взаимодействие традиционных музыкальных культур и их адаптационный потенциал: культурологический и педагогический аспекты

The author of the article considers the interaction of traditional musical cultures in Russia from a historical perspective and a philosophical point of view. The cultural approach allows us to consider traditional musical culture as a multi­level system, the musical and cultural tradition as part of the system and as a multi­component model. The pedagogical approach allows to justify the feasibility of introducing this issue into the content of the university training of future musicians and teachers in order to understand by them the mechanism of functioning of traditional musical cultures and to use their knowledge in their subsequent professional musical activity. The author pays special attention to the analysis of the possibilities of the musical and cultural tradition as a social and cultural phenomenon and the nature of its interaction with foreign cultures. It is shown that the musical and cultural tradition as a means of consolidating different nationalities is an effective way to unite all peoples not only of Russia, but also beyond its borders.

Классическая гармония в музыкально-теоретическом образовании в Китайской Народной Республике

Thearticle is devoted to the problem of mastering by students from the People’s Republic of China the classical harmony as the basic section of the most important musical­theoretical discipline. It identifies the causes of difficulties appearing in this process. They are related to the peculiarities of the interpretation of the category “harmony” in Chinese musicology. Due to the civilizational features reflected in the language and cultural traditions of China, the aesthetic meaning of this concept is considered in isolation from the technological and educational­academic, which are of priority importance. In the civilizational aspect, classical harmony is a product of the European worldview and is inseparable from the professional composer creativity of the European tradition (“opus music”). The cultural and typological features of the latter are far from the traditional musical culture of China, and in many ways even opposed to it. The priority of the individual principle, the high level of creative freedom combined with personal responsibility for the result, and the connection with the institution of the Christian church are little understood by Chinese students. Difficulties in the development by students of the PRC of classical harmony are caused not only by the specifics of the tonal type mode, European forms of multi voiced texture and chord thinking, but also by the inextricably linked three­dimensionality of the artistic space and the special function of the melody in the artistic whole. In the intonational aspect, classical harmony for students of the PRC is an element of the content of music education, not directly related to the past, present, or future of the native national culture. The study of classical harmony is necessary for Chinese students to understand the Western musical tradition as a manifestation of a different ethnotype of intonation in the context of self­realization of the peoples inhabiting a great country in the modern world cultural space of the era of globalization.

Characterization of Women in Kazakh Music Culture

This article discusses the role of women in traditional musical culture in Kazakhstan and addresses the life and creativity of Dina Nurpeisova (1861-1955). Dina was a respected stupid player, student of the famous kyushi [ii] Qurmanghazy and of a super kyuishi. The article examines Dina's life based on archives that became available only after Kazakhstan became independent. From the 1940s to the 1990s, the Soviet media ended the oppressive conditions of the Kazakh women's revolution. He claimed that women in the "wild" Kazakhstan, who had no control or their own culture, achieved happiness until after the creation of the Soviet Union. The printed media focused specifically on the character of the famous kyuishi Dina Nurpeisova (1861-1955), who described her as a Kazakh woman released under Soviet rule. Since then, Dina has ignored this view, but this misunderstanding of the feminine position in the revolutionary Kazakh culture has become the norm. The result is that Dina is considered a unique phenomenon in Kazakh music culture. Although she undoubtedly had unusual gifts (people even called her "Kyu's mother", which amounts to calling Kyur's father "Qurmanghazy"), Dina was not the only officially recognized woman in Kazakh traditional culture. The Kyuishi women ruled the states and the women occupied a very high position in the traditional society, as evidenced by many excellent names of singers, poetesses, actresses, kyuishis and warriors that they have preserved until today. At the same time, Dina Nurpeisova is a special place among these prominent women in Kazakh. The purpose of this study is to free Dina's biography from antiquated and wrong interpretations and to present his artistic approach based on in-depth knowledge.

TRADITIONAL MUSIC AND POETRY OF THE TATARS-MISHARS: MODERN FORMS OF EXISTENCE

Purpose: The Tatars-Mishars are an ethnographic group of the middle Volga and Ural Tatars. Their speech is based on a special dialect and belongs to the Western group of the Tatar language. The Tatars-Mishars were settled on the Right Bank of the Volga in Mordovia, Chuvashia, Tatarstan, Bashkortostan, as well as in the Nizhny Novgorod, Penza, Ryazan, Samara, Saratov, and Ulyanovsk regions. The Mishar sub-ethnic group is divided into three ethnographic components – Sergach, Temnik, and lambir, each of which has its own linguistic and ethnocultural features. The object of our attention is the traditional musical and poetic creativity of the Tatar-Mishars of the Ulyanovsk region, which is a unique layer, characterized by the preservation and to date the existence of original folklore genres.
 Methodology: In the article the analysis of the materials obtained by the authors during expeditions in the Ulyanovsk region, where the ignorance relating to the khvalynskoe, Karsunsky and melekessky language groups. As a result of research various and interesting, to some extent, the original material was recorded. When collecting information, the instruction on collecting musical folklore was used for detailed certification of the recorded sample, which allowed to identify the distribution area, local features, the picture of the modern functioning of the works of traditional musical and poetic creativity.
 Results: In general, the study showed that the traditional musical culture of the Tatar-Mishars of the Ulyanovsk region, is a distinctive layer, characterized by a variety of genres and styles. This lyrical lingering and short tunes, takmaks and lyric-epic genres baits, munajat.
 Application: Therefore, the study and preservation for future generations of musical and poetic folklore of the Tatar-Mishars, which has inexhaustible wealth, will allow feeling the original and universal foundations of spirituality of the Tatar people and its culture.

Implementasi Kebijakan Pemerintah Kabupaten Sumenep Dalam Rangka Pengembangan dan Pelestarian Kesenian Musik Tradisional Tong - Tong

This qualitative descriptive research method is to describe and discuss a policy of the Sumenep Regency Government to implement the Sumenep Regency Government Policy in the Context of the Development and Preservation of Traditional Music Art of Tong-Tong Madura Island, East Java Province. At the beginning of the development of traditional Tong-Tong art music which was used as a sahur patrol music was played in waking people to perform the sahur worship in the holy month of Ramadan and Calling the Dwarf who wanted to go home to his cage. In accordance with the Sumenep Regent's Regulation No. 28/2008 concerning the duties and functions of the Regional Office, the Sumenep District Youth and Sports Culture Service, has the task and function of fostering and preserving the Tong-Tong Traditional Music culture in the Sumenep district. The Tong - Tong se Madura Music Contest and the Sumenep Regency Tong - Tong Festival from 2016-2018 is in the context of fostering efforts as well as preserving the cultural heritage of the ancestors which is held regularly every year starting. The cost of conducting the Tong - Ton Traditional Arts Music Kirab Music Festival, the Tong Se Madura Music Contest and the Tong-Tong Festival is annually charged to the Sumenep Regency Regional Revenue and Expenditure Budget (APBD). The aim is to hold the Tong Tong Se Madura Music Competition and the Tong-Tong Festival every year in Sumenep Regency to improve and develop Sumenep Regency tourism promotion and marketing through the Madura tong-tong music competition.

Взаимовлияние русской и украинской традиционной культуры в Суджанском районе Курской области

The singularity of the traditional musical culture of the Sudzhan District of the Kursk Region is defined by the cohabitation on its territory of two ethnical groups – Russians and Ukrainians, between whom there occurred processes of both ethnic differentiation and integration. Each of these groups formed its own musical culture and system of musical genres demonstrating a great degree of difference from one another. At the same time, the musical language remained an important means of cultural self-identification. The system of musical genres of the Russian villages pertains to the local tradition of the bordering areas between the Kursk and the Belgorod Regions, where the centralizing component is provided by the round khorovod song. It affects such genres of the traditional stratum as tanochnye and the wedding songs, forming a special repertoire of instrumental-choreographic types – the karagodny refrain tunes. The genre system of Ukrainian villages is comprised of a strata of traditional genres inconspicuous in its scope – glorification of winter and congratulatory songs and wedding ritual refrain tunes, whereas the main song array of the Ukrainians is comprised of lyrical songs. The interaction between the cultures is actively displayed in the late stratum of folk music. It is the existence of late-traditional lyricism, of general Russian chastushka tunes and dances of urban origin in both the Russian and the Ukrainian ethnic milieus. Such a rapprochement of traditional cultures is stipulated by the change of the ethnical self-determination of Ukrainians and the overcoming of cultural insularity, which at an earlier period provided the condition of independent development of two separate musical traditions. Keywords: the Kursk Region, the Sudzhan District, Russian and Ukrainian folklore, traditional culture, ethnomusicology.

ÇUBUK VE ŞABANÖZÜ BÖLGELERİ ALEVİ KÖYLERİNDEKİ CEM GELENEKLERİNE MÜZİKAL AÇIDAN BİR BAKIŞ

The city of Ankara-the capital of Turkish Rebuplic-carries a great cultural importance regarding both its rich historical background and extensive multi-culturality. The city history going back to 3000 years B.C. has led to the improvment of an extensive traditional music culture within the Ankara city center and the neighbouring towns. This traditional music culture naturally carries the structures and symbols of various music cultures hosted by Ankara. Moreover, Alevi belief system which is quite widespread within the city and the connected towns specifically in the Cubuk region seems to be a main source for the symbolic structures of the religious music examples. The aim of this study, is to make a research on the “cem” rituals of the Alevi villages in the Cubuk region concentrating mainly in the forms, the functions and the symbolic characteristics of religious music examples performed during these rituals and to detect the possible similarities and the differences of these examples with the ones experienced in the regions sharing the similar “ocak” system with Cubuk region. Therefore, Cankiri Sabanozu region which has strong connections with Cubuk among the Alevi “ocak” system was also included in the study to examine the musical reflections of these connections of faith. Interviews, recordings acquired from regional surveys performed by the author will be utilized to perform the study. Also knowledge and data support is taken from the previous research studies performed in the region.

Музыкально-компьютерные технологии как инструмент трансляции и сохранения музыкального фольклора (на примере Дальнего Востока России)

The article analyzes the issues of gathering and arrangement of folk musical materials, examines contemporary informational resources and technologies as a means of preservation and transmission of musical folklore. The Far East is a unique ethnic region inhabited by bearers of various cultures on its region, however, traditional folk music is rapidly disappearing, as the bearers of these languages are gradually dying out. Musical computer technologies (MCT) may become a perspective tool for mastery, transmission and preservation of phenomena of musical culture, in connection with which there arises the necessity of the swiftest implementation of MCT into the practice of activities of folk music researchers. Disclosure of unique specimens of traditional musical creativity, the study and comprehension of the most valuable collected materials, and the work on deciphering – all of these have not lost their relevance. The authors emphasize the important role of further professional elaboration, cataloguing, classification, systematization and digitization of data. The article gives support to the idea of a “musical bank” and an “intonational catalogue” of examples of musical folklore. Accentuation is given to the issue of creation of an education-related space in the domain of the Internet with application of the opportunities for MCT, which demonstrate themselves, among other things, as a new means of accumulation and transmission of knowledge about music. The authors come to the conclusion about the ability of MCT to play a significant role in the process of mastery, transmission and preservation of the musical culture of the Russian Far East, as well as the development and popularization of the traditional cultural heritage of the multinational state of Russia. Keywords: musical computer technologies, traditional musical culture, musical culture of the Far East of Russia, intercultural communication, transmission of musical culture.

Новые методы исследования песенной традиции тувинцев

Рецензия на издание: Тирон Е. Л. Песни тувинцев-тоджинцев: жанры ыр и кожамык в конце XX столетия / отв. ред. Г. Б. Сыченко. Новосибирск: Наука, 2018. 248 с. ISBN 978–5–02–038791–1Монография представляет этномузыкологическое исследование, посвященное двум основным песенным жанрам тувинцев-тоджинцев — ыр и кожамык, которые проанализированы автором в сравнительном аспекте. По мнению рецензента, в работе впервые целостно и системно изучена песенная традиция тувинцев Тоджинского района Тувы, выявлены сходства и различия двух жанров на уровнях функционирования, семантики, поэтики, стихосложения, слогоритмической, темповой, ладозвукорядной и ладофункциональной организаций.Рассматривается система интонационной культуры тувинцев-тоджинцев, в которой наиболее полно сохранившейся признана лирическая сфера, представленная традиционными песенными жанрами ыр и кожамык. Автор в работе вносит вклад в изучение проблемы жанра в тувинском песенном фольклоре. Опираясь на полевые исследования, Е. Л. Тирон доказывает функционирование двух основных жанров в песенной традиции тувинцев-тоджинцев, а также наличие других разновидностей как өпей ыры, куда ыры, ойтулааш кожамык. В образно-тематическом содержании поэтических текстов песен, автор значительно расширяет границы образов жанра кожамык. Также автор монографии приводит сравнительный анализ временных и звуковысотных параметров организации жанров.Особую ценность представляет собой приложение к работе, содержащее нотные расшифровки песен жанров ыр и кожамык, с текстами на тувинском и русском языках.Книга предназначена для специалистов в области этномузыкознания и фольклористики, а также для всех интересующихся традиционной музыкальной культурой тувинцев.

National musical instrument; Timbre; Charm; Piano music

At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.

Ten Years of Folk Music Curriculum Construction—A Practical Study Based on the Inheritance and Innovation of Chinese Excellent Traditional Music

In face of difficulties in inheritance and innovation of Chinese excellent traditional music in local colleges and universities, we found that the Trinity folk music teaching model of double-classroom teaching, art collection in fields and training on two platforms in and out of school under guidance of teacher has a good effect on inheritance and innovation of excellent tradition music. In this article, practical results of ten year construction of folk music curriculum are analyzed and described. How do we introduce excellent Chinese traditional music culture to college class and cultivate national cultural identity of students? How do we make contemporary college students learn, inherit and make innovations based on genes of Chinese excellent traditional music culture? How do we train performance, innovation, research and teaching ability of excellent traditional music of local college students majoring in musicology, so that students can become disseminators and promoters of Chinese excellent traditional music culture in their work? The construction of folk music curriculum provides a way of thinking to solve above problems.