Academic literature on the topic 'Tatar Folk songs'

Research objectives: To outline the activities of Nina Borovko-Langlet as a collector and performer of folk songs of the Crimean Tatars and to introduce into scientific use a collection of Crimean Tatar songs and dances, prepared by her in collaboration with the composer M.I. Krasev. Research materials: The collection of Nina Borovko and Mikhail Krasev “Crimean Tatar Songs,” published in Stockholm in 1925, and little-known Russian and foreign journal articles served as additional material. As comparative material, the publications of Crimean folklore texts of the 1920s and 1930s were used. Results and novelty of the research: For many decades, the name of Nina Borovko-Langlet was forgotten in the history of Russian musical folklore. The materials presented in the article highlight the role of N. N. Borovko-Langlet in Crimean folklore studies of the 1920s and 1930s. She contributed largely to the popularization of Crimean Tatar music, and her concerts introduced Swedish audiences to the originality of Crimean Tatar folk songs and dances. The article reveals the existence of the collection “Crimean Tatar Songs,” containing six Crimean Tatar songs with translations into Russian, Swedish, and German, as well as a musical notation of two dance songs. It can serve as a valuable source for further comparative study of variants of Crimean songs. The paper also touches on some aspects of N.N. Borovko-Langlet’s collaboration with M.I. Krasev and describes the range of musical publications of the Soviet composer related to the Crimean theme.

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.

The author of the article investigates the poetics, genre, and style structure of the folk love songs of the Crimean Tatars. Based on the works by such folklorists as Oleksiy Olesnytsky, Asan Refatov, Yahya Sherfedinov, Fevzi Aliyev, Ilyas Bakhshysh and others, but primarily on authentic texts, she allocates two main genres of folk lyrics of the Crimean Tatars, in which love motifs dominate. The most ancient is maqam. Characteristic of these lyrical compositions, a deep dramatic quality dictates a special emotional expressiveness. It is clearly shown with the help of exquisite figuration, such as wide chants in singing. Philosophical meditation is also a typical feature of these folk works. The other lyric genre, tiurkiu, is very widespread in the folk songs of Crimean Tatars, especially from the 19th century to our time. It covers laconic songs, which have easy lively rhythms. In the love tiurkiu, apart from the most widespread songs about unhappy love, it is also possible to distinguish two more genres: songs about overcoming alarms and troubles and songs about happy love. The perceptive description of the sadness and happiness of love, expresses a wide range of feelings, delicate shades of mood, an abundance of outstanding intonation, picturesque metaphors and symbolic concentration of the laconic imagery, the dynamic development of the lyrical plot, where the shapes of the narrative plot can often be guessed, the coherence and liveliness of the composition (line, retrospective, mosaic), the system of expressive repetitions, which reinforces the ornamental quality and, simultaneously, the clear coherence of the narration, the sophisticated sound and rhythmic organization: these are the main peculiarities of the poetic world of the Crimean Tatar folk love song.

In the Russian musical culture the term “musical ethnography” as the name of science has appeared at the turn of the 19th and 20th centuries. In the Soviet period, when the politicization of art began to take place, the term “musical folklore” became established. The scientifi c thought about the Tatar folk musical creativity developed within the framework of “musical folklore”. In studies of the pitch and temporal structure of Tatar folk songs, a formal (abstract) approach dominated. Consideration of them in the context of other disciplines became possible only in the post-totalitarian period, when there were ample opportunities for rebirth and the return of the true artistic values. Only from that time the science of the musical folklore had the opportunity to actively use the methods and techniques of other sciences (history, literature, sociology, social psychology, ethnography, linguistics), to give an objective and in-depth assessment of the peculiarities of Tatar musical folklore.

история татар, мигрирующих в Китай, насчитывает всего более ста лет. После переселения татар в Китай они принесли с собой различные культуры, которые повлияли на традиционную национальную культуру Китая и обогатили китайскую культуру. Среди них ещё большее распространение получила татарская музыкальная культура. Татарская музыкальная культура – важная часть татарской национальной культуры, она является основой распространения и развития татарской песни и танца. Татарские песни и танцы незаменимы на любом празднике в Синьцзян-Уйгурском автономном районе Китая. Из-за уникальности татарской музыки другие этнические группы Синьцзяна очень любят татарскую музыкальную культуру, изучают и впитывают татарскую музыку и танцы. Татарская музыкальная культура и передовое музыкальное образование позволили местной музыкальной культуре и образованию в Синьцзяне быстро развиваться, сделав его известным «местом пения и танцев» в Китае. Однако влияние взаимное: хотя татарская музыкальная культура влияет и на другие этнические группы, она также находится под влиянием иностранных влияний. В силу многих причин среда татарской музыки в Китае меняется и сужается, что ставит наследование и развитие татарской музыки в невыгодное положение. В статье использовано описание современного положения татарских народных песен, а также анализ и исследование географической (т.е. природной экологической среды) и языковой среды. И попытаться проанализировать причины упадка татарской музыкальной культуры, и надеюсь оказать помощь для наследования, защиты и развития татарской музыки. the history of Tatars migrating to China goes back over a hundred years. After the Tatars migrated to China, they brought with them various cultures, which influenced the traditional national culture of China and enriched Chinese culture. Among them, Tatar musical culture became even more widespread. Tatar musical culture is an important part of the Tatar national culture; it is the basis for the spread and development of Tatar song and dance. Tatar songs and dances are indispensable at any holiday in the Xinjiang Uyghur Autonomous Region of China. Because of the uniqueness of Tatar music, other ethnic groups in Xinjiang are very fond of Tatar musical culture and study and absorb Tatar music and dance. Tatar musical culture and advanced music education have allowed local music culture and education in Xinjiang to develop rapidly, making it a famous "home of singing and dancing" in China. However, the influence is mutual: although Tatar musical culture influences other ethnic groups, it is also influenced by foreign influences. Due to many reasons, the environment of Tatar music in China is changing and shrinking, which puts the inheritance and development of Tatar music at a disadvantage. The article uses a description of the current situation of Tatar folk songs, as well as analysis and research of the geographical (i.e. natural ecological environment) and linguistic environment. And try to analyze the reasons for the decline of Tatar musical culture, and hope to provide assistance for the inheritance, protection and development of Tatar music.

The subject of the analysis in the article are the words related to the names of space objects in the Crimean Tatar language. Cosmodome and astronomy are onomastic space, providing a unique layer of vocabulary of the Crimean Tatar language. Comanime ‒ name universe, the moon, the sun and other cosmic objects, research is called cosmania. Names of space objects are often found in the Crimean Tatar folklore, folk songs, poetry. The young branch of onomastics of the Crimean Tatar language is practically not studied. This article investigates and groups space objects, which are extracted by the method of continuous sampling from folklore samples, poetry of EshrefShemya-zade. The study of kosminkov and astronomov necessary, as they provide invaluable historical, cultural, ethnographic material.

The article gives a detailed descripton of the musical instruments of the Crimean Tatars, which are presented in the collection of the Bakhchisarai Museum-Reserve and are interesting for studying musical culture in general. The history of formation of the collection of musical instruments is connected with the creation of the Museum of Turkic-Tatar Culture in Bakhchisarai. In the 1920s and 30s, the staff of the institution collected a large number of antiquities, including musical instruments. In scientific works devoted to the music of the Crimean Tatar people, researchers mainly paid attention to the songs, melodies and partially mentioned traditional instruments. In this work, it is assumed to study the issues of acquisition, cataloging, classification of musical instruments, as well as determining the characteristic features of these items. The research will be relevant for further use in creating expositions, excursion stories, possibly also in recreating folk instruments and playing them.

Toponyms as the most important component of geography are a kind of link between a person and a geographical object, indicating its geolocation. They represent a source of information accumulated over a long period of the existence of an ethnic group and the associated traditional culture reflected in the songwriting of the people. The aim of the study is to describe astyonyms and their functioning in Tatar and Mari songs. The scientific novelty is accounted for by gaps in knowledge in the research on this issue in modern regional linguistics. The paper is the first to determine the general themes of the astyonyms in the semantic content of the songs of the Tatars and the Mari in a comparative aspect and also analyze the differences caused by the historical and cultural peculiarities of the peoples’ development. In both languages, the names of cities are endowed with the nominative, informative, deictic, appellative and communicative functions. Astyonyms function in various song genres: historical, lyrical, folk. They are divided into two groups: a) national toponyms (“small homeland” and Russia) and b) toponyms outside the country (foreign topological objects – Western European and Eastern). The results showed that the geographical space in the songs is represented by the names of real geographical objects reflecting the migration and event history of ethnic groups, their interaction with other peoples, national and cultural identity, chronotopic landmarks, national personalities, ways of self-presentation of inhabitants of regional territories.

Abstract Ukrainian epics (dumy) first came to the attention of scholars in the nineteenth century when collectors sought folklore that supported nationalist goals. Little is known about early dumy or who performed them, although epics about Turko–Tatar captivity and the Kozak warfare of the fourteenth through seventeenth centuries contain details that correspond to what is known of those periods. Thus, these songs were likely composed contemporaneously with the events they describe. When they were collected in the nineteenth century, dumy were performed by blind, guild-affiliated, mendicant minstrels called kobzari and lirnyky, who adapted their texts for their civilian audiences. Nineteenth-century texts remain duma classics. While efforts were made to compose Soviet-themed dumy and, later, epics about contemporary tragedies like the accident at Chornobyl, these have not entered tradition. Today, dumy are sung by educated enthusiasts, not mendicants. Contemporary kobzari and lirnyky perform at staged events and seek to evoke Ukrainian pride.

This chapter unpacks the sociopolitical atmosphere in which the Russian popular view of its own Orient was born. It discusses how Russian images of eastern and southern “others,” crystallized in maligned form in bylinas, historical, and children’s songs, were promoted through the publication of song collections and how these representations generated hostile attitudes toward Russia’s eastern and southern neighbors. During the time of conflicts within Russia and wars in the east, the folk songs describing “evil Chechens,” monstrous Tatars, and aggressive Turks camouflaged Russia’s own internal problems. The chapter notes the changes in collections of Russian folk songs that occurred at the end of the nineteenth century: some of Russia’s ethnic minorities who embraced Orthodox Christianity and adopted a Russian way of life (e.g., Cheremis) were included in collections of “Russian” (russkii) folk songs. Due to the shift in imperial projects, different ethnic minorities, despite their cultural differences, were embraced as members of the multiethnic empire.