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Academic literature on the topic 'Kalmyk Songs'

Author: Grafiati

Published: 26 July 2024

Last updated: 27 July 2024

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Journal articles on the topic "Kalmyk Songs"

1

Boldyreva, Indzhir M. "Песни о выселении калмыков и их возвращении из Сибири, записанные у информанта М. Б. Мудаевой." Бюллетень Калмыцкого научного центра Российской академии наук 15, no. 3 (November 25, 2020): 251–63. http://dx.doi.org/10.22162/2587-6503-2020-3-15-251-263.

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Goals. The paper introduces texts of songs dealing with the Kalmyk deportation and its follow-up period recorded from M. B. Mudaeva. These songs illustrate the historical truth of 1943 nation-wide tragedy and enormous happiness of the ones to have survived and returned to ancestral lands. Materials. The work examines songs recorded by the scholars of Kalmyk Research Institute of Language, Literature and History (present-day Kalmyk Scientific Center of the RAS) from M. B. Mudaeva during the 1960 folklore research expedition in Yashkulsky District. The song Hal’mgudyg nүүlһsnә tusk dun (‘Song of the Kalmyk Deportation’) deals with the deportation itself, and the song Hal’mgud Sibrәs irsnә tusk dun (‘Song of the Kalmyks’ Arrival from Siberia’) depicts the successful return and universal joy of ones who after all reached their dear steppe. Conclusions. The work introduces the songs about deportation of Kalmyks and their return to their native land that have not been published before.

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2

Guchinova, E. B. M., and Ts B. Seleeva. "Can subalterns sing? Kalmyk songs about their exile to Siberia." Shagi / Steps 10, no. 1 (2024): 84–106. http://dx.doi.org/10.22394/2412-9410-2024-10-1-84-106.

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The article deals with Kalmyk folk songs about the deportation of the Kalmyk people to Siberia (1943–1957). The purpose is to exhibit the Siberian cycle of Kalmyk songs as a special genre, to elucidate its folklore specifics and to show how its pragmatics have changed depending on the political context during the last 80 years. The study is based on a corpus of 80 texts in the Kalmyk language. The songs were collected among folk song performers in Kalmykia, and from archival recordings, social networks and published songs. The tradition of the Siberian song operates with its own fund of various types of constants and formulas. The article provides an analysis of plots, stylistics, reflections of small genres of folklore in song texts. Particular attention is paid to the pragmatics of Siberian songs in connection with the historical policy of the state, to the development of the performing canon and to the role of songs in the process of ethnic identification and collective memory. The songs of the Siberian cycle have a special role: these local voices became a vital source about the life and feelings of the Kalmyks in 1943–1957, as a kind of musical ego-documents reflecting the thoughts and feelings of the exiles: bewilderment, bitterness, resentment, hope. The authors show that the Siberian songs were the only public form of protest and a way to proclaim the suffering of the Kalmyks as a group.

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3

Borlykova, Boskha. "К вопросу изучения нарицательной лексики сарт-калмыцких песен (по экспедиционным материалам)." Ural-Altaic Studies 47, no. 4 (December 2022): 28–53. http://dx.doi.org/10.37892/2500-2902-2022-47-4-28-53.

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The article discusses the systematic nature of the folklore lexicon of Sart-Kalmyk songs recorded by K. E. Erendzhenov (1935), A. Sh. Kichikov (1964), U.-J. Sh. Dondukov (1975), E. R. Tenishev (1976), D. A. Pavlov (1982) and B. V. Menyaev (2009). The corpus of Sart-Kalmyk song texts has been posted by the authors of this article on the website http://kalmyki.narod.ru. The texts of the Olot songs of the Ili-Kazakh Autonomous Region of Xinjiang previously recorded by the authors of the article during the expeditions of 2012 and 2020 have been taken into consideration as well. All the nouns under analysis have been divided into the following lexico-semantic groups: “ethnonyms” (lexical units denoting people according to their nationality), “kinship terms” (lexical units denoting people according to their relationships), “lexical units denoting people according to their gender and age”, “titles” (lexical units denoting titles), “anthroponyms” (proper names); “lexical units denoting domestic animals” etc. Some lexical units are provided with comments from archival, expedition, and published materials. The analysis of the vocabulary of Sart-Kalmyk songs clearly shows that it is based on common Oirat lexicon which incorporated a number of early borrowings from other languages. Later borrowings from the Kyrgyz language have not been found in the texts of the Sart-Kalmyk songs. Therefore, the songs of the Sart-Kalmyks were created before their move to the valley of the Karakol River and before their conversion to Islam. The results of the research can contribute to further analysis of the lexical structure of Sart-Kalmyk song texts.

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4

Borlykova, B. Kh, and B. V. Menyaev. "Don Kalmyk Song Recordings Made by A. M. Listopadov." Nauchnyi dialog 11, no. 8 (October 30, 2022): 222–38. http://dx.doi.org/10.24224/2227-1295-2022-11-8-222-238.

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In spite of the previous two centuries of recording Kalmyk song folklore there are still unknown and littleknown manuscripts and audio recordings of Kalmyk song art, stored in Russian and foreign archives. The Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences has a handwritten collection of Don Kalmyk songs, recorded by musicologist Alexander Mikhailovich Listopadov in 1902 in the village of the Denisov Region of the Don Cossack Army. The first section of the manuscript contains seventeen songs and one excerpt from the heroic epic “Dzhangar”, the second section contains eleven songs of the Soviet period and two dance melodies. The records presented in the manuscript are valuable because they are the earliest examples of phonographic records of Kalmyk folklore. A preliminary review of the texts of Kalmyk songs from the first section of A. M. Listopadov revealed that the real collection seems to be extremely heterogeneous, it includes rare examples of hymn, historical, hunting, wedding and lyrical Kalmyk folk songs. Among the texts of the songs, the authors of the article found an excerpt from the epic “Dzhangar”, which refers to the Maloderbet cycle. Introducing the entire collection of A. M. Listopadov into scientific circulation will deepen understanding the Kalmyk folklore of the 19th — the first half of the 20th centuries, will serve as an additional source for its new interpretation, will contribute to comparative studies of the folklore of the Mongolianspeaking peoples.

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5

Mitruev, Bembya L. "О переводе двух песен эпоса «Гесер» Б. Бергманом." Oriental Studies 14, no. 3 (October 6, 2021): 606–25. http://dx.doi.org/10.22162/2619-0990-2021-55-3-606-625.

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Introduction. In 1802–1803, Benjamin Bergmann made a trip to the Kalmyk steppes to collect historical, literary, and folklore material on the Kalmyks and the Kalmyk culture. The result of this journey was the 1804–1805 publication of “Nomadische Streifereien unter den Kalmüken in den Jahren 1802 und 1803” (Nomadic wanderings among Kalmyks in 1802–1803) in Riga, which up to the present day has not lost its importance as a source of information on the culture and life of the Kalmyks in the 18th and 19th centuries. The four-volume work contains translations of various texts from Kalmyk into German, including the two songs of the “Geser” epos. This is in fact the earliest translation of “Geser” songs into a European language. Data. The German translation of the two “Geser” songs published by Bergmann in his work has been used as the material for the present research. The aim of the article. Bergmann’s translation of the songs is often mentioned in scholarly publications, but so far, no Russian translation of the songs in full has been made. To facilitate the research of the Oirat-Kalmyk “Geser” and especially of the songs in question, this article presents their scientific translation into Russian made by the present author. Also, the article discusses the character of the Kalmyk originals of the epic songs. So far it has been believed that an oral retelling was the source for the German translation of the songs. However, there is sufficient evidence for a new hypothesis because the analysis of the data undertaken in this study indicates that apparently there was a written Oirat source for the translation. Conclusions. Besides the complete Russian translation of the “Geser” sagas offered here, the article puts forward the hypothesis of the written nature of the original source, which served as the basis for Bergmann’s German translation.

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6

Mitruev, Bembya L. "Б. Бергман и его труд о калмыках и калмыцкой культуре." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 149–75. http://dx.doi.org/10.22162/2587-6503-2020-4-16-149-175.

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Introduction. During the period from 1898 till 1901 the German researcher Benjamin Bergman travelled to the Kalmyk steppes where he collected a lot of historical, literature and folklore materials. The result of this travel was the publication of the four-volume book “The Nomadic Roaming among Kalmyks in 1802–1803” by B. Bergman in 1804–1805 in Riga, this book is an important source of the information about the literature and culture of Kalmyks of the XIX century. Among the translations of the texts, this publication contains the translation of two songs of Geser from Kalmyk into German. This translation is the first translation of the Geser songs in Kalmykia. Goal. The goal of the article is to give to the fullest extent possible the bibliographic information about Benjamin Bergman as the researcher of the Kalmyk ethnos and highlight the nature of his translation of the two songs of Geser. Materials.Materials about Bergman family in German and four-volume book “The Nomadic Roaming among Kalmyks in 1802–1803” are used in the article. Results. In 1804–1805 on the results of the travel to the Kalmyk nomad roaming, Bergman published his famous four-volume work where he not only presented a lot of information about Kalmyks but also tried todispel several wrong perceptions about Kalmyks. His work is still relevant for the researchers of Kalmyk culture, history and literature. That is why it was republishedin Europe in 1969.

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7

Baljin, Danbuerjiafu (Damrinjav), and Baazr A. Bicheev. "Орос болон өрнө дахинд ойрад-халимагийн ардын дууг цуглуулан тэмдэглэж, эмхэтгэж, хэвлүүлсэн тойм (= История записи и публикации народных песен ойрат-калмыков в России и Европе)." Монголоведение (Монгол судлал) 12, no. 3 (November 5, 2020): 529–66. http://dx.doi.org/10.22162/2500-1523-2020-3-529-566.

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Introduction. Oirats of China, Mongolia and Kalmyks of Russia live in three different countries — but share common ethnic ancestry. Oirats of China primarily reside in Xinjiang, Qinghai, Gansu, Inner Mongolia, and Hara-Muren (Amur River valley). In Mongolia, Oirats traditionally inhabit western provinces, such as Uvs, Khovd, Bayan-Ölgii, Zavkhan, and Khӧvsgӧl. In Russia, Kalmyks live in the Republic of Kalmykia and Astrakhan Oblast. Some minor Oirat and Kalmyk groups reside in Kyrgyzstan, Europe, and America. Despite being separated by historical eras, state borders and differing cultural-economic conditions, Oirats and Kalmyks still preserve the common vivid tradition of oral poetry largely represented by folk songs. In Russia and Europe, the earliest recordings of Oirat and Kalmyk folk songs were made 260 years ago. Those divide into lingering and short ones: the former serve to celebrate remarkable events, such as rituals, festivities and holidays; the former are usually sung by young people during regular household activities. Goals. The paper seeks to review the history of recording, investigating and publishing Oirat and Kalmyk folk songs. Results. The article analyzes folk songs of Oirats and Kalmyks, setting forth a coherent historical paradigm of theirs in Russia and European countries throughout the 19th and 20th centuries.

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8

Dordzhieva, Gilyana А. "Протяжная песня «Өрүн hарсн нарн» в записях 1902, 1974, 1997 и 2020 гг." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (December 20, 2020): 153–69. http://dx.doi.org/10.22162/2587-6503-2020-1-13-153-169.

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The article presents the chants and texts of the lingering song “Orun garsn narn” recorded from Don Kalmyks (Boghshrangin Kalmyks) in Elista and Kalmyk expatriate community in the USA. Texts, word-for-word translations and notations of the three performing variants are given in the study. The article analyzes the content of the texts, detects the invariant features of the chants, specifies the particular nature of the religious songs ‘chastr dun’.

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9

Khaninova, Rimma. "Dombra in Kalmyk folklore and Lyrics of the 20th – early 21st centuries: poetics of a musical instrument." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (May 15, 2024): 178–208. http://dx.doi.org/10.22162/2587-6503-2024-1-29-178-208.

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The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.

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10

Borlykova, Boskha Kh, and Badma V. Menyaev. "FOLKLORE OF SART-KALMYK OF KYRGYZIA: TEXTS AND AUDIO RECORDS." Folklore: structure, typology, semiotics 5, no. 2 (2022): 42–55. http://dx.doi.org/10.28995/2658-5294-2022-5-2-42-55.

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The article is devoted to the texts and audio records of the SartKalmyk folklore. The Sart-Kalmyks are among the least studied Mongolian peoples living in the settlements of Kyrgyzstan. The first examples of oral folk art of the Sart-Kalmyks can be found in the manuscripts written by the Russian Mongolian scholar A.V. Burdukovin 1929, as well as in the notes made by K.E. Erendzhenovin 1933 and published in the newspaper “Ulan khalmg” (“Red Kalmyk”) in 1935. The most important sources for the study of Sart-Kalmyk folklore are the collections of the Archive of Orientalists of the Institute of Oriental Manuscripts of the Russian Academy of Sciences and the Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences (KalmSC RAS), where besides fables, songs and proverbs the manuscripts of the texts of the epic “Dzhangar”, the historical legend “Zyungar Khan” (“Dzungar Khan”) are kept. The fund № 16 of the Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences contains the inventory № 1 with expeditionary records of Sart-Kalmyk folklore on magnetic tapes collected by the researchers of the Folklore Department of the Kalmyk Research Institute of Language, Literature and History A.Sh. Kichikov (1979), B.B. Okonov (1979), T.B. Badmaeva (1979). In the last twenty years, Russian and foreign researchers have carried out a number of important scientific expeditions to the places of permanent residence of the Sart-Kalmyks in order to collect new field material. A deeper look into the history of collecting and publishing Sart-Kalmyk folklore allows to conclude that the texts and audio (video) records made by Russian scientists are valuable sources for the study of the folklore tradition of the Sart-Kalmyks of the 20–21 centuries.

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Books on the topic "Kalmyk Songs"

1

Gábor, Bálint. Kalmyk folklore and folk culture in the mid-19th century: Philological studies on the basis of Gábor Bálint of Szentkatolna's Kalmyk texts. Budapest: Library of the Hungarian Academy of Sciences, 2011.

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2

Bitkeev, N. T͡S. Kalmyt͡skai͡a narodnai͡a pesennai͡a poėzii͡a. Ėlista: Kalmyt͡skoe knizhnoe izd-vo, 1987.

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Bitkeev, N. T︠S︡. Kalmyt︠s︡kiĭ pesennyĭ folʹklor. Ėlista: Dzhangar, 2005.

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Kalmyt︠s︡koe ustnoe narodnoe tvorchestvo. Ėlista: Dzhangar, 2007.

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5

S, Sabitov S., ed. Aĭsta muraltena: Mariĭ kalyk muro den takmak-vlak. Ĭoshkar-Ola: Mariĭ kn. izd-vo, 1991.

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Yŏngsan'gang tŭllyŏk ŭl chik'yŏon Yŏngam Kalgok tŭlsori. Sŏul: Minsogwŏn, 2011.

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Conference papers on the topic "Kalmyk Songs"

1

Borlykova, Boskha. "Song Folklore Of The Khoshut Of Kalmykia." In SCTCMG 2019 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.12.04.63.

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Omakaeva, Ellara U. "Masculine Model Of A Person In Kalmyk Song Folklore: Age And Relationship." In SCTCGM 2018 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.03.02.124.

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