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1
Lobkov, Aleksandr E. "An Episode from the History of Crimean Musical Folklore: a Collection of Crimean Tatar Songs by N. Borovko and M. Krasev." Golden Horde Review 11, no. 1 (March 29, 2023): 123–42. http://dx.doi.org/10.22378/2313-6197.2023-11-1.123-142.
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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.
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Мухаметзянова, Л. Х., and К. М. Миннуллин. "Hushavaz as a kind of lyro-epic folklore of the Tatars." Эпосоведение, no. 1(17) (March 28, 2020): 61–69. http://dx.doi.org/10.25587/svfu.2020.17.58366.
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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.
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Humeniuk, Olha. "The Poetics of Folk Love Songs of the Crimean Tatars." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 54, no. 1 (July 15, 2022): 239–52. http://dx.doi.org/10.36770/bp.678.
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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.
4
Mambetova, G. R. "Structural analysis of the Crimean Tatar folk lyrical songs." Искусство и образование, no. 6 (2022): 66–72. http://dx.doi.org/10.51631/2072-0432_2022_140_6_66.
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Saidasheva, Zemfira N. "Tatar Ethnomusicology: Development Prospects." ICONI, no. 2 (2019): 68–77. http://dx.doi.org/10.33779/2658-4824.2019.2.068-077.
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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.
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Цзинь, В. "Status quo and analysis of Tatar musical culture in Xinjiang, China." Historical bulletin 7, no. 2 (March 14, 2024): 48–52. http://dx.doi.org/10.58224/2658-5685-2024-7-2-48-52.
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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.
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Khalilaeva, Sabina Nazimovna. "Toponymicon of the Crimean Tatar Folk Songs: Thematic and Word-Formative Aspects." Filologičeskie nauki. Voprosy teorii i praktiki, no. 1 (January 2021): 53–57. http://dx.doi.org/10.30853/phil201013.
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Absemieva, L. S. "Functioning of space objects in the Crimeantatar language." Язык и текст 6, no. 1 (2019): 122–25. http://dx.doi.org/10.17759/langt.2019060120.
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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.
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Velieva, Sevilya S. "Musical instruments of the Crimean Tatars in the collection of the Bakhchisarai Museum-Reserve." Crimean Historical Review 10, no. 1 (July 3, 2023): 147–61. http://dx.doi.org/10.22378/kio.2023.1.147-161.
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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.
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Khabibullina, Flera Yakhyatovna, and Iraida Gennadievna Ivanova. "Astyonyms in the songwriting of Mari and Tatars." Philology. Issues of Theory and Practice 16, no. 11 (November 28, 2023): 4006–12. http://dx.doi.org/10.30853/phil20230610.
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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.
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Khalitova, M. I. "Some questions of harmonization of recordings of crimean tatar folk songs at the initial stage." Искусство и образование, no. 6 (2022): 52–58. http://dx.doi.org/10.51631/2072-0432_2022_140_6_52.
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Isanbet, Yu N. "Folklore opera “The Steppe” in the perception of the contemporaries." Tatarica 20, no. 2 (December 15, 2023): 120–41. http://dx.doi.org/10.26907/2311-2042-2023-21-2-120-141.
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This work continues a series of articles about the composer Anton Eichenwald, published in the “Tatarica” Journal in 2022-2023: “Symphony Concert of Oriental Music in Kazan in 1923” (2022, No. 1), “Concerts of Oriental Music” in Paris (2022, No. 2), “Anton Eichenwald and the Kazan Cabinet of Musical Folklore” (2023, No. 1). Based on the archival materials, our study systematizes information on the history of creation and production of his opera “The Steppe”. We prove that the composer A. Eichenwald undertook this work in order to give a new life to his arrangements of Tatar folk songs.
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Unal, Kerami. "Islam and Mountain traditions in determining the character of the protagonist in Lev Tolstoy's novella "Hadji Murat"." Journal of Global Social Sciences 1, no. 3 (September 1, 2020): 143–59. http://dx.doi.org/10.31039/jgss.v1i3.79.
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The article deals with the last novella of Lev Tolstoy, called Hadji Murat, on the Caucasus. Here, for the first time in Russian classical literature, the main character of a great realist work is an Eastern Man, a Muslim, a Mountaineer and a Tatar. The main subject of Tolstoy's research on history and art is the fate of Hadji Murat, one of the leaders of the mountain peoples' liberation movement. Hadji Murat is more than a historical figure, he is a legend of his time. For 20 years, he fought relentlessly with Russian troops, who were much stronger, professional and equipped than himself. He surprised everyone with his daring raids, his bravery and legendary invincibility. It is very important how the author of "Hadji Murat" comprehends the world of people from a different culture. One of the most important indicators of this is the author's skilful use of folkloric and religious materials that constitute the basic dynamics of the people. The article tackles this issue fundamentally. Muslim and pagan values are strangely intertwined under the consciousness of the protagonist of the novella, and although they complement each other in some ways, they fundamentally contradict each other. In this novella written by Tolstoy, Hadji Murat is shown as a religious person. Various artistic and folkloric functions take place in the novella. Aphorisms, proverbs, concise expressions, idioms, tales and folk songs about mountains and mountain dwellers helped the author reproduce the national consistency and priorities of the national cultural paradigm.
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Монич, М. Л. "Contrapuntal Probes As a Special Type of a Music Manuscript." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 57–82. http://dx.doi.org/10.26156/om.2021.13.1.003.
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В середине 1870-х — начале 1880-х годов С. И. Танеев, воодушевленный идеей поиска «русского стиля», активно пополняет теоретические знания в области контрапункта и практикуется в полифонической работе с национальным мелодическим материалом: песенным фольклором и православными церковными напевами. В результате этой деятельности появляются многочисленные рукописи с контрапунктическими опытами, направленными не только на самообучение, но и на создание музыкальных произведений. Материалом для настоящей статьи стали документы указанного периода творчества композитора — черновые автографы к неоконченному циклу хоровых обработок причастных стихов и к Увертюре на русскую тему, хранящиеся в архиве Государственного мемориального музыкального музея-заповедника П. И. Чайковского в Клину. Танеев работает с напевами причастных стихов и трех песен «Про татарский полон» особым образом: многократно и последовательно испытывает каждый сегмент мелодии различными видами контрапунктической техники, в результате чего получает обширный комплект в основном имитационных, но также неимитационных построений и построений, совмещающих оба вида. Для своего времени танеевский метод и порождаемый им графический текст достаточно специфичны. Подобный тип рукописей предлагается обозначить термином контрапунктические пробы. Ориентируясь на форму, скрепленную полифонической техникой, композитор создает текст, имеющий сходство с уже атрибутированными в отечественной музыкальной текстологии образцами композиционных рукописей: набросками, эскизами, черновиками, учебными работами. Тем не менее, танеевские штудии принципиально от них отличаются и нуждаются в более точном описании и определении. In the mid 1870-s — beginning of 1880-s Sergey Taneev, inspired by the idea of the “Russian style,” began to replenish his theoretical knowledge in the field on counterpoint and to practice polyphonic writing based on national melodic material: folk songs and Orthodox church chants. These studies resulted in numerous manuscript fragments, the purpose of which was not just self-training but there were also drafts for future pieces. The article is based on the documents from this period, including the drafts for unfinished choir arrangements of communion verses and an Overture on the Russian Theme, from the archive of Pyotr I. Tchaikovsky’s Museum in Klin. The way Taneev works with the melodies of the communion verses as well as the songs “About the Tatar Captivity” is very particular: he tries each segment of the melody multiple times consistently applying different types of contrapuntal technique; this resulted in a large set of imitative and non-imitative fragments as well as fragments in which both types of polyphony are combined. For Taneev’s time, such a method and the generated graphic text are unique. We would suggest introducing a term contrapuntal probes to describe it. These texts, determined by the polyphonic forms and techniques, are in many ways similar to the drafts, sketches, and exercises by Taneev which have already been thoroughly examined by Russian specialists. However, there are also essential differences, which implies a more precise and specific description and classification.
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Gadamska-Serafin, Renata. "Góry Kaukaz jako wrota Orientu. Motywy orientalne w twórczości Tadeusza Łady-Zabłockiego." Góry, Literatura, Kultura 11 (July 17, 2018): 111–41. http://dx.doi.org/10.19195/2084-4107.11.9.
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THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyflisu po różnych krajach za Kaukazem Journal From My Journey To and From Tiflis Across Various Countries Beyond the Caucasus and notes from his Armenian expedition were lost. An important source of inspiration for Zabłocki, encouraging him to explore the East, were the Philomaths’ translations of Oriental poetry by Jan Wiernikowski and Aleksander Chodźko, while his model of reception of the Orient were the oeuvres of Mickiewicz primarily his Crimean and Odessa Sonnets, Byron and Thomas Moore especially the fragment of Lalla Rookh — Paradise and the Peri. The exile brutally brought Zabłocki into contact with the real Orient, terribly dangerous and diametrically different from the one described by Western travellers. It is, therefore, not surprising, that their superficial and simplified accounts were criticised by the Polish poet and soldier.Zabłocki’s oeuvre, both pre-exile and Caucasus period works, is full of various Oriental reminiscences: from the Biblical topos of the Paradise ab Oriente, through numerous splendid images of Caucasian nature, scenes from the life of Caucasian highlanders, poetic imitation of the metre of Caucasian folk dances, apt ethnographic observations in the verses, borrowings from Oriental languages, extraordinarily sensual eastern erotic poems, to translations of texts of Caucasian cultures Tatar, Azeri and Georgian songs. Zabłocki drew on both folk culture of Caucasian tribes, and on Eastern mythologies as well as universal culture of the Islamic world. He presents an ambivalent image of Caucasian highlanders in his poetry: sometimes they acquire traits of noble, free, valiant and indomitable individuals, typical of the Romantic idea of highlanders, on other occasions the label “Son of the East” becomes a synonym of Asian barbarity.Freed from the service in the tsarist army, Zabłocki planned travels across nearby Persia, Asia Minor, and even Arabia, Nubia and Palestine. However, the plans never became a reality, owing to a lack of funds and the poet’s early death of cholera.Zabłocki’s “Eastern” oeuvre fully reveals the “liminal”, demarcational nature of the Caucasian mountains, for centuries constituting the limes between Europe and Asia, the East and the West, a meeting place of the Christian and the Muslim Orients.]]>
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Ismagilova, E. I. "Musical comparative studies of the folklore traditions of Volga region peoples. Book review: Kondratiev M. G. Chuvash music in the mirror of parallels: on the problem of Volga-Urals musical civilization." Languages and Folklore of Indigenous Peoples of Siberia, no. 40 (2020): 119–27. http://dx.doi.org/10.25205/2312-6337-2020-2-118-127.
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The book by the Chuvash musicologist M. G. Kondratiev is one of the generalizing works in ethnomusicological comparative studies of the Volga region peoples’ folklore traditions. The author of the monograph focuses on re- vealing the common phenomena at different levels of organization of folklore works in the traditional cultures of Chuvash, Tatars, Mari, and Udmurts. Musical traditions of the ethnic groups concerned are considered in comparison with the Chuvash folklore by using the specified parameter analysis. The three chapters of the first part consider the peculiarities of the Volga region historic-ethnographical location formation and analyze the musical and aesthetic conceptions of the tradition bearers in specified ethnic groups. The second part, composed of four chapters, is dedicated to analyzing the morphology and text structures of song lines of different lengths. The third part deals with contextual and structural regularities of short plot samples of Chuvash folk poetry shavra youra compared with similar monostrophic forms of Tatar, Mari, and Udmurt folk lyrics. The fourth part thoroughly examines the relations of Chuvash and individual local groups of other Volga ethnic groups at the level of genre correspondences and intonation pattern. In the summary, the author argues for his concept of the Volga-Urals civilization, determining the place of Chuvash culture within this concept as fundamentally important. The methodology approbated in M. G. Kondratiev’s book is expected to be actual for studying the problems of interaction of music-folklore traditions of Siberian peoples.
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Khabibullina, Alsu Z. "Elegy and Elegy Mode of Artistry in the Poetry of Rob. Akhmetzyanov and I.A. Kushner." Polylinguality and Transcultural Practices 17, no. 3 (December 15, 2020): 363–74. http://dx.doi.org/10.22363/2618-897x-2020-17-3-363-374.
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The article is devoted to the examination of elegy features and elegy mode of artistry in Russian and Tatar poetry of 70-80s XX century. The actual basis of the research is formed by A. Kushners poems, modern Russian poet and Robert Akhmetzyanov, known Tatar lyric of the XX century. It is stated that elegy was not included in the circle of traditional Tatar poetry genres (wider - oriental), its genetic roots are bound with other forms like marsiya. The author comes to the conclusion, that poetic cycle Kozge elegiyalar (Autumn elegies) by Rob. Akhmetzyanov fully depicts the identity of Tatar artistic consciousness, its literary identity, reflecting in its ability to correlate its deep experiences with poem form and with its architectonic principles. The comparative analysis has shown that subjective and objective in Rob. Akhmetzyanovs elegies exist in a different, less expressive form of contradiction than in the Russian elegy tradition, which is marked by the connection of the Tatar poets artistic way of thinking with folk poetry. Particularly, in the lyrical cycle the author resorts to paired images, like ike alma (two apples), which also appear in the Tatar song. The research proved that Rob.Akhmetzyanovs creativity can be considered as catalyst of elegy in the national literature of the XX century: elegy form and its techniques contributed to the genre recognizability, more than that, elegy became the field of representation of the avant-garde spirit of the Tatar authors creativity. In the A.Kushners poetry elegy and idyllic interact in the same lyrical plot, thus transforming the stable features of the genres mentioned and their modality (Ukhodit leto (The summers leaving), Mne kazhetsya (It seems to me) etc.
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Tiron, E. L. "Lullabies of Tuvans: based on the field materials of the Novosibirsk Conservatory and the Institute of Philology of the Siberian Branch of the Russian Academy of Sciences." Languages and Folklore of Indigenous Peoples of Siberia, no. 43 (2022): 22–31. http://dx.doi.org/10.25205/2312-6337-2022-1-22-31.
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The genre of lullabies of Tuvans has been poorly studied. A precious little number of musical transcriptions of melodies of Tuvan lullabies have been published. This paper presents the results of an ethnomusicological study of a lullaby songs and rocking lullabies of the Tuvans using the recordings made during the expeditions to Tuva by ethnomusicologists and philologists of the Novosibirsk Conservatory and the Institute of Philology of the SB RAS. Some expeditions took place in cooperation with Tuvan colleagues. The analysis of the folk terminology used by the bearers of tradition in relation to this field of folk art has revealed four types of lullabies: lullaby songs, rocking lullabies, throat singing lullabies, and lullabies performed with tongue trembling. The first two types refer to genre characteristics, while the last two specify the timbre specifics of intonation. The study led the author to draw a conclusion about the heterogeneity of the lullaby genre, indicating the multitemporal nature of the appearance of lullaby songs and rocking lullabies of the Tuvans. Of importance is the observation that lullaby style accumulates many genres of ethnic intonation culture. It is through lullabies that a child is introduced to the intonational world of his ethnic culture. This work also provides comparative observations on terminology, cradle words, and the function of lullabies among the Turkic and Mongolian peoples of Siberia: Altaians, Shors, Khakas, Yakuts, Siberian Tatars, as well as Buryats and Mongols.
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Strutynski, Iwan. "The Instrumental Component of the Epic Genres of the Carpathian Tradition." Problems of music ethnology 16 (December 29, 2021): 99–109. http://dx.doi.org/10.31318/2522-4212.2021.16.249654.
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If the context of the performance of ritual and dance music is described in detail in a number of monographs at the beginning and middle of the last century, then with descriptions of the existence of epic genres the situation is somewhat different. Most collections of epic songs contain verbal and musical texts, however, the context of the performance, the number of performers, and the instrumental component are not always described.
The article is devoted to the epic genres of folklore of the Ukrainians of the Carpathians. The article examines the modern existence of such epic genres of Ukrainian Carpathian folklore as psalm, song-chronicle, ballad. The aim of the study is to show the epic genres of folklore of the Ukrainian Carpathians in the context of its modern existence in the Carpathian village and in connection with the instrumental tradition of the region. The study covers Eastern Galicia (Halychyna), in particular Galician Hutsulshchyna and Pokuttia (Pokucie), where the author's fieldwork took place.
Modern field recordings of psalms, which were previously carried by itinerant lyre players, indicate that the works of this genre in some places have survived to this day due to their inclusion in the calendar tradition. Some of them are preserved as Christmas and Lenten songs. So, in the village Stary Lisets of the Tysmenytsa district of IvanoFrankivsk region, the psalm «About Stratenska Virgin Mary» about the siege of the monastery by the Tatars became a carol.
In the Kosiv and Verkhovyna districts of Ivano-Frankivsk region (Galician Hutsulshchyna), songs-chronicles («novyny») continue to exist. This genre of Ukrainian folklore appeared in the 17th century. Songs-chronicles reflect historical events from the time of the opryshky movement to the present day and family and household dramas. In the village Khymchyn of the Kosiv region, the author of these lines was lucky to record two songs-chronicles – about Dovbush and about the First World War. The performer alternated singing with playing on a sopilka-dencivka. The author finds out ideas of the bearers of the tradition about the correct performance of songs-chronicles. The classical performance of chronicle songs is predominantly solo (one singer and one accompanist-instrumentalist).
Folk ballads that exist in the modern Carpathian region can be divided into local and late ones, a significant part of which came from the Central regions of Ukraine in the 20th century. At the same time, part of the late ballads comes from the ancient ones that arose on the territory of the Ukrainian Carpathians in the 17th–18th centuries. Evidence of the 20th century and the records of modern collectors of Carpathian folklore show that the performance of ancient Carpathian ballads is close to the performance of songs-chronicles.
Old Carpathian ballads are characterized by a declamatory manner of singing accompanied by a violin, hurdy-gurdy or sopilka-flute and a narrow ambitus. Old ballads are associated with individual performance and folk-professional instrumentalism. Nowadays they can be heard less often than late ballads associated with collective choral singing. To get a complete picture of the context of the existence of the ancient Carpathian ballads, it is necessary to interview the inhabitants of the villages where they were recorded in the XX – at the beginning of the XXI century – Kornych, Myshyn, Cherni Oslavy, Velykyi Klyuchiv and Kosmach.
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Humeniuk, Viktor I. "Figurative World of Poem by Taras Shevchenko “A Meditation (Water Is Flowing to the Blue Sea…)” and the Peculiarities of its Recreation in Crimean Tatar Translation." Studia Litterarum 7, no. 3 (2022): 280–97. http://dx.doi.org/10.22455/2500-4247-2022-7-3-280-297.
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Crimean Tatar translations of Taras Shevchenko’s poetic compositions are most perfectly represented in Simferopol publications as “Saylama sheerler” [“The elected Works”] (1940) and “Far and Near – Uzaq ve yaqyn – Shevchenko” (1999). A substantial contribution to this sphere was done particularly by such modern poets as Isa Abduraman, Yunus Kandym, Shakir Selim. Ablyaziz Veliyey is also among them, being the author of the poetical interpretations of such Shevchenko’s lyrics as “Don’t marry the rich one,” “Mother Gave Birth to Me” and also “A meditation (Water Is Flowing to the Blue Sea…).” The last composition and the comparison of it with Crimean Tatar translation is the main object of studying in the suggested publication. Personality of the stranger, who endures the ordeals at foreign land and thinks about his misfortune, being at sea coast, is in the centre of the composition. Laconically impressive metaphorical-picturesque imagery is characteristic to the poetics of this work. Permanent association of water flowing with irreversible flying of time is connected here with the poetic thoughts about the difficulties of human’s destiny. Genre-stylistic, versification, image-composition and other peculiarities of the origin are conveyed appropriately in Crimean Tatar interpretation by A. Veliyev. Conveying these peculiarities, the translator absolutely in accordance to the poetics of the origin, tactfully and spectacularly appeals to the poetic means of folk song.
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Yerzhykivska, Nataliia. "UKRAINIAN THEMES IN THE EARLY WORSK OF JULIUSZ SŁOWACKI." Polish Studies of Kyiv, no. 39 (2023): 161–92. http://dx.doi.org/10.17721/psk.2023.39.161-192.
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The article pays attention to the fullest possible identification of the content background of the early work of Juliusz Słowacki “Ukrainian Duma”, dated [Vilno, August 26, 1826], which literary experts consider to be part of the Vilnius-Kremenets creative period. Emphasized attention is paid to the fact that the poet begins his work at a time when the Ukrainian trend, later defined as the “Ukrainian school” in Polish romantic writing, has already clearly manifested itself in the work of its leading representatives. It is emphasized that the poem contains elements of folk songs that were sung throughout Ukraine in the 16th – 18th centuries. Consistency with the persuasive arguments of Ukrainian folklorist R. Kyrchiv is asserted, namely: the novice author does not imitate, adapt or rephrase Ukrainian folk songs, but only interprets them as material for a poetic synthesis; he also does not use those song texts on which B. Zaleski’s poetry is based. It is emphasized that the author of “Ukrainian Duma” testified to his early interest in Polish and Ukrainian folk song primary sources. It is speculated that J. Słowacki looked closely at Polish translations of Ukrainian song texts, their reprints and various kinds of adaptations, and also showed interest in Stavropol literature and the works of contemporary poets, in particular A. Malczewski. Typological parallels with shades of poetry by A. Czahrowski and B. Zimorowicz are given. Attention is drawn to the artistic features of “Ukrainian Duma” – interestingly composed, as for a novice poet, and sufficiently original integral work written in a rhythmic language (choreated eight-syllable). In the sylabotic system, the two-syllable foot, in which the rhythmic accent falls on the first syllable, is usually odd. The poem has 195 lines and has all the appropriate plot elements. The textual canvas of the “Ukrainian Duma” by J. Słowacki was analyzed and interpreted according to its conventional division into two parts: “I. Farewell” and “II. Despair”, the unfolding of which is accompanied by a narrator who forms the structure of the story and ensures the integrity of the composition; he performs the roles of narrator, observer and witness. In order to pay more attention to the plot-compositional organization of the poem, a division into separate fragments with conventional names corresponding to each aspect is also applied. Three fragments are included in the first part: “Runko and Hanka – narrator’s presentation of the characters”, “Farewell of lovers”, “Attack of the Tatars”. The following six fragments are included in the second part: “Runka’s Path to Hanka”, “Despair”, “Reflections on the Fate of a Cossack”, “Despair”, “Sad News...” and “Afterword”. The specified type of narration, used by the writer, that is, he belongs to the omniscient objective auctorial narrator who conducts the story and intervenes in it: dialogue with the characters in the form of questions-answers, reasoning, reflections, evaluations, comments and summaries. It is about the clothes and musical instrument (bardon) of the main character Runka. The research cites reviews of Polish and Ukrainian scientists, as well as individual fragments of translations of the “Ukrainian Duma” from Polish to Ukrainian by M. Zisman and R. Lubkivskyi. The author of the article is inclined to see in the poem “Ukrainian Duma” by J. Słowacki, which has overcome a difficult path to the reader (first published in 1866), as inspired student sketches of poetry for later mature lyrical and dramatic texts, which are full of glorious and tragic pages of past events and visions of the future of Poland and Ukraine.
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Yevmenenko, Olena, and Iryna Melnychuk. "The tradition of Ukrainian dumas in the focus of folklore science at the beginning of the 20th Century: Kyiv scientific school." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 80–86. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-80-86.
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The article analyzes the scientific material of Ivan Erofeiv's researches on the tradition of Ukrainian Dumas, characterizes the methodology, peculiarities of work with the source base, with variant material, classification by main motifs, etc. The focus is on the second most important folkloristic research of the scientist “Crimea in the Little Russian folk poetry of the XVI-XVII centuries, mainly in Dumas”, dedicated to the memory of Professor Volodymyr Antonovych. The research activity of the folklorist is analyzed in the context of the scientific research of the Kiev scientific school at the beginning of the 20th century. In the first decade of the 20th century, Ukrainian folkloristics suffered significant losses - such brilliant scholars of the Kyiv school as M. Dashkevich, V. Antonovych, P. Zhitetskyi passed away. As a result of the socio-historical cataclysms of the beginning of the century, some scientists tragically died, and others emigrated. However, scientific research in the field of folkloristics is continued by talented students of the Kyiv School, among whom the figure of researcher Ivan Yerofeiv, who distinguished himself, in particular, as a researcher of such an original and rather complex genre of Ukrainian folk poetry as Dumas, occupies a prominent place. The basis for the scientific research "Crimea in the Little Russian folk poetry of the XVI-XVII centuries, mainly in Dumas" was the previous work of the researcher "Ukrainian Dumas and their versions". In the new work, a range of problems related to the reflection in the oral poetic tradition of one of the most tragic and heroic periods in the history of Ukraine is the era of the national liberation struggle of the people, its struggle for statehood against numerous external enemies was raised. The question of the relationship between Ukrainians and their formidable Muslim neighbor will be interpreted here through the prism of folk poetic perception and with the involvement of a wide array of historiographical material. The essay highlights mainly the most characteristic motifs of Ukrainian dumas and historical songs, which reflected the relationship between two hostile forces which are the Cossacks and the Muslim world. However, this work cannot be considered superficial, since a large amount of sporadically conceived folklore material was involved in the analysis namely numerous versions of works, domestic and Polish historiographical sources. I. Erofeiv builds his research exclusively on the analysis of dumas and historical songs of more ancient origin, where generalizing pictures of that time reality are reproduced in typical images, without connection with specific persons or events. Simultaneously, a group of songs depicting the victories of the Cossack army over the Turks and Tatars during the national liberation war under the leadership of Bohdan Khmelnytskyi falls out of sight. The study of the songs of this group would provide interesting material for elucidating folklore concepts regarding the attitude of the Ukrainian people to Khmelnytskyi's foreign policy aimed at alliance with Muslim states.
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Soldatova, G. Ye. "A complex edition of the folk songs of Tatars the Kryashens (Almeeva N. Yu. The songs of Tatars the Kryashens / Ed. by I. I. Zemtsovsky; Russian Inst. of Art history. Vol. 1: Pestrechinskaya (Primёshinskaya) group. St. Petersburg; Kazan, 2007. 311 p. + CD; Vol. 2: Molkeevskaya group. St. Petersburg." Sibirskiy filologicheskiy zhurnal, no. 3 (September 1, 2015): 264–70. http://dx.doi.org/10.17223/18137083/52/30.
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Мухаметзянова, Л. Х., and К. М. Миннуллин. "General traditions in the epic and semantics of the Tatar ritual holiday soren." Вестник Северо-Восточного федерального университета имени М.К. Аммосова. Vestnik of North-Eastern Federal University. Серия "Эпосоведение. Epic studies", no. 4(24) (December 30, 2021): 5–14. http://dx.doi.org/10.25587/z2092-1252-0945-i.
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Традиционный фольклор является обширной сферой человеческой деятельности, именно поэтому важна фиксация и изучение этнокультурных явлений и их переосмысление. Данная статья посвящена исследованию некоторых вопросов взаимовлияния двух самостоятельных областей фольклористики: языческого в древности обряда сөрән (сорэн) и не менее древнего жанра – эпоса, выявлению общих проблем в данных областях народной культуры. Рассматриваемые с точки зрения историко-мифологических, художественных, эстетических, нравственно-воспитательных, социально значимых критериев, дошедшие до наших дней обрядовые и эпические акции вправе называться институтом сохранения самобытности, ценностей и творческого самовыражения. Выявление ранних мифологических представлений и исторической памяти народа, зафиксированных в вербальном эпическом тексте обряда, например, способно играть немаловажную роль в этнической идентичности той или иной нации, что особенно важно для современного общества. Научные изыскания по данной тематике способствуют созданию баланса между процессом глобализации в культуре и необходимостью сохранения и поддержания этнического разнообразия в современном мире. Цель исследования – определить общие корни эпоса и обряда сорэн, по сохраненным в обрядовом и эпическом фольклоре кодам установить эволюционирующие признаки мифологического сознания этноса. Основным источником фактического материала в исследовании послужили тексты тюркского эпического фольклора, а также песенные тексты, исполняемые во время названного народного праздника; широко использованы вновь найденные во время научных экспедиций материалы, в особенности – по обрядовому фольклору. В исследовании использованы сравнительные, структурно-описательные, историко-типологические методы. Научная новизна статьи заключается в том, что здесь впервые в своеобразном этническом примере поднимается вопрос интеграции эпического наследия и обрядового фольклора, рассматриваются современное состояние и трансформация календарно-обрядового праздника сорэн у татар, вводится в научный оборот новый материал по обрядовому фольклору татар в сравнении с образцами тюркского эпоса. Подход авторов к проблеме в малоисследованном ритуально-ситуативном аспекте позволил выявить некоторые общие маркеры и коды, бытующие в эпической и обрядовой культуре народа. В результате исследования охарактеризовано соотношение традиционности и современности в татарском эпическом и календарно-обрядовом фольклоре, установлена некоторая стилистическая и жанрово-поэтическая общность между обрядностью и эпосом, сделаны соответствующие выводы, определен потенциал темы для дальнейшего изучения вопроса. Traditional folklore is a vast area of human activity, which is why it is important to fixate and study ethnocultural phenomena and their rethinking. This article is devoted to the study of some issues of the mutual influence of two independent areas of folklore: the pagan rite of Soren in antiquity and the no less ancient genre – the epic, identifying common problems in these areas of folk culture. Considered from the point of view of historical, mythological, artistic, aesthetic, moral, educational, socially significant criteria, ritual and epic actions that have come down to our days can be called an institution for the preservation of identity, values and creative self-expression. Revealing the early mythological ideas and historical memory of the people, recorded in the verbal epic text of the rite, for example, can play an important role in the ethnic identity of a particular nation, which is especially important for modern society. Scholarly research on this topic contributes to the creation of a balance between the process of globalization in culture and the need to preserve and maintain ethnic diversity in the modern world. The purpose of the study was to determine the common roots of the epic and the Soren rite, and from the codes preserved in ritual and epic folklore, to establish the evolving signs of the mythological consciousness of the ethnos. The main source of factual material in the study was the texts of the Turkic epic folklore, as well as the song texts performed during the said folk holiday; materials newly found during scientific expeditions were widely used, in particular – on ritual folklore. The study used comparative, structural and descriptive, historical and typological methods. The scholarly novelty of the article lies in the fact that for the first time, in a kind of ethnic example, the issue of integration of the epic heritage and ritual folklore is raised, the current state and transformation of the Soren calendar-ritual holiday among the Tatars is considered, new material on the ritual folklore of the Tatars is introduced into scientific circulation in comparison with samples Turkic epic. The authors' approach to the problem in a little-studied ritual-situational aspect made it possible to identify some common markers and codes that exist in the epic and ritual culture of the people. As a result of the study, the relationship between tradition and modernity in the Tatar epic and calendar-ritual folklore were characterized, some stylistic and genre-poetic commonality between ritual and epic were established, appropriate conclusions were drawn, and the topic's potential for further study of the issue were determined.
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Tatminingsih, Sri, Budi Hermaini, Dian Novita, Mutiara Magta, Ngadi Marsinah, Titi Chandrawati, Untung Laksana Budi, and Tedjo Djatmiko. "Implementasi Pengembangan Model Praktik Tarian Rakyat Indonesia melalui Gerakan Kreatif pada Guru TK." Bubungan Tinggi: Jurnal Pengabdian Masyarakat 4, no. 1 (March 31, 2022): 71. http://dx.doi.org/10.20527/btjpm.v4i1.4321.
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Tarian tradisional merupakan salah satu budaya Indonesia yang hampir dilupakan, terutama oleh generasi masa kini. Kegiatan ini bertujuan untuk mengimplementasikan pengembangan model praktik Tarian Rakyat Indonesia melalui gerak kreatif yang diciptakan Guru sebagai bahan pembelajaran anak usia dini (AUD). Pada kegiatan ini, para guru diarahkan untuk menciptakan sebuah tarian kreatif dengan cara mengubah, memodifikasi atau menciptakan gerakan-gerakan kreatif yang disesuaikan dengan karakteristik dan kemampuan AUD. Kegiatan dilaksanakan Bulan Agustus-November 2021dengan Mitra TK Senthosa Jl Kembang Sepatu-Cireundeu Tangerang Selatan. Kegiatan berlangsung secara luring (tatap muka) dengan enam pertemuan dan jarak jauh (pendampingan dan kerja mandiri) selama enam minggu. Rincian pelaksanaan tatap muka, meliputi: 1) Penyamaan persepsi dan penyusunan jadwal kegiatan luring dan pembimbingan jarak jauh. 2) Penyampaian materi dasar oleh Pakar. 3) Diskusi dan pemilihan lagu dan gerak yang akan diciptakan. 4) Reviu hasil karya cipta model tarian rakyat. 5) Evaluasi hasil revisi karya cipta tarian rakyat yang dibuat Guru. 6) perekaman dan pembuatan produk video tarian rakyat ciptaan guru. Sedangkan kerja mandiri dilaksanakan diantara pertemuan tatap muka. Proses yang dilakukan dalam kerja mandiri:1) pembuatan dan penciptaan rancangan tari, 2) pembuatan tarian 3) konsultasi dan pembimbingan melalui telepon, video call ataupun percakapan di WhatsApp. Peserta adalah Guru-guru TK Senthosa Tangerang Selatan berjumlah enam Guru. Hasil kegiatan berupa video model tarian rakyat hasil ciptaan guru. Semua Guru menyatakan bahwa kegiatan ini sangat bermanfaat dan menambah keterampilan Mereka dalam mengembangkan bahan pembelajaran khususnya tarian untuk menstimulasi anak didiknya. Rekomendasi adalah proses pengembangan tarian harus dilakukan dengan pembimbingan secara intensif dan tarian yang diciptakan perlu diujicobakan kepada anak usia dini secara nyata guna mengetahui efektivitasnya. Traditional dance is one of the Indonesian cultures that is almost forgotten, especially by the current generation. This activity aims to implement the development of an Indonesian Folk Dance practice model through creative movements created by the teacher as learning materials for early childhood children. In this activity, teachers are directed to create a creative dance by changing, modifying, or creating creative movements that are adapted to the characteristics and abilities of early childhood. The activity will be held in August-November 2021 at Senthosa Kindergarten on Jl Kembang Sepatu-Cirendeu, South Tangerang as a partner. The activity takes place offline (face to face) with six meetings and remotely (assistance and independent work) for six weeks. Activities are carried out offline (face to face) with six meetings and remotely (assistance and independent work) for six weeks. Details of face-to-face implementation, including 1) Equalization of perceptions and preparation of schedules for offline activities and remote mentoring. 2) Submission of basic material by the Expert. 3) Discussion and selection of songs and movements to be created. 4) Review the creation of a folk dance model. 5) Evaluation of the revised folk dance creations made by the teacher. 6) recording and making folk dance video products created by the teacher. While independent work is carried out between face-to-face meetings. The process is carried out in independent work: 1) making and creating dance designs, 2) making dances 3) consulting and mentoring via telephone, video calls, or conversations on WhatsApp. The participants were Senthosa Kindergarten teachers, South Tangerang, totalling six teachers. The result of the activity is a video model of a folk dance created by the teacher. All the teachers stated that this activity was very useful and increased their skills in developing learning materials, especially dances to stimulate their students. Recommendations that can be conveyed are that the process of making dances must be carried out with intensive guidance and the dances that are created need to be tested on real early childhood children to determine their effectiveness.
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Sukhareva, Svitlana. "THE HISTORY OF THE POLISH-UKRAINIAN BORDERLAND AS AN IMPERATIVE FOR THE CREATIVITY OF THE LITERARY GROUP “ZIEWONIA”." Polish Studies of Kyiv, no. 38 (2022): 294–309. http://dx.doi.org/10.17721/psk.2022.38.294-309.
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The article highlights the historical motives and inspirations of the literary group “Ziewonia”. Attention is drawn to the influence of the historical era (the period of the November Uprising of the Poles and being under Russian oppression), as well as previous milestones in Polish and Ukrainian history, which were signposts to national liberation. The peculiarities of the development of Ukrainophilism within the general Slavophilism of the first half of the 19th century are taken into account. The place of the scientific concept of Zorian Dołęga-Chodakowski on the transformation of the historical approach to the reception of Slavic literature in general, and Polish and Ukrainian in particular, is determined. In addition to the influence of famous historians, it is also worth highlighting the extraordinary role of the Society of Friends of Science in Lviv. It was from there that ideas about the transformation of historical models came in order to revive the people’s struggle and patriotic sentiments in society. Along with chronicle historicism and Walterscottism, the writers of the “Ziewonia” group in their works highlight the principles of folk historicism, which is largely based on Ukrainian folklore. Song folk images and plots, historical events from Dum are the basis of most of the poetic works of representatives of the “Ziewonia” group. Some of them have clearly expressed anti-Ottoman motives. Thus, Seweryn Goszczyński’s work “Kościelisko” was written in the spirit of folk historicism, as it depicts the struggle of the inhabitants of the Carpathian region against the Tatar army. The presence of a common enemy among the Ukrainian and Polish peoples from previous centuries is transferred to the first half of the 19th century, when such an enemy was the Russian Empire and other imperialist conquering states. Therefore, inspirations of national liberation can be found everywhere in the poetry, prose and drama of “Ziewonia”. The key in historical inspiration was the image of a folk hero or a Cossack. Slavophilic writers successfully put into practice the program principle of “Ziewonia” dedicated to history, in particular literary and critical reflections on the place of Galician writing.
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DANYLYUK, Nina, and Oksana ROHACH. "SOURCES OF THE FORMATION OF AHATANHEL KRYMSKYI’S LINGUISTIC PERSONA." Culture of the Word, no. 95 (2021): 17–29. http://dx.doi.org/10.37919/0201-419x-2021.95.2.
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The article is devoted to the sources of the formation of a linguistic persona of the future famous scholar, writer, translator, and polyglot – Ahatanhel Krymskyi. In the article there has been conducted an analysis of the communicative geographical and epistolary discursive area of A. Krymskyi at the times of his childhood and adolescence. These periods of his life we consider the decisive ones for his linguistic individualization and the definition of the parameters of a linguistic persona. The linguistic persona’s features were caused by the origin of A. Krymskyi (the Crimean Tartar roots, an intelligent family of a teacher of history and geography and a Polish Lithuanian noble woman), and his unique abilities (the boy learned to read at the age of 3 and a half, had a phenomenal memory, and an analytical brain). A great role was played by the multilingual and multicultural places of dwelling and studying, namely the following towns and cities: Volodymyr Volynskyi, Zvenyhorodka, Ostroh, Kyiv (such languages as Ukrainian, Russian, Polish, and Yiddish were spoken there and different ethnic cultures cooperated), Moscow (A. Krymskyi was surrounded by the Russian, Ukrainian, and other languages; a Ukrainian community was actively working), Beirut (in the city, the Arabic, French, Russian, and other languages were spoken; there was a unique environment of Eastern/Oriental cultures). The formation of a polyglot was favoured by the study of classical languages, Western European, Slavonic and Eastern / Oriental languages at the secondary and higher educational institutions. The evolution of scientific abilities of the specialist in the Ukrainian, Slavonic and Oriental studies was supported by the highly professional teachers (first of all Pavlo Zhytetskyi in Kyiv and Vsevolod Miller, Oleksii Veselovskyi, Ihnatii Krachkovskyi in Moscow). The communication with famous people (Ivan Franko, Borys Hrinchenko, Omelian Ohonovskyi, Mykhailo Pavlyk, Lesia Ukrainka and others) intensified the Ukrainian vector of the linguistic persona of A. Krymskyi. Creative possibilities of the linguopersona-writer and translator are reflected in his literary and translation heritage (the collection of poems “Palm branches” (1901, 1908), “The Stories of Beirut” (1906), the novel “Andrii Lahovskyi” (1905, a full version was published in 1972), translations of the poetry by Hafez, Omar Khayyam, Saadi, Ferdowsi, Turkish folk songs and others into Ukrainian and Russian.
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Shcherbak, Vitalii. "ROMANTIC VISION OF THE UKRAINIAN PAST IN THE WORK OF TOMASH PADURA." Polish Studies of Kyiv, no. 38 (2022): 353–67. http://dx.doi.org/10.17721/psk.2022.38.353-367.
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The article highlights the romantic image of Cossack Ukraine of the XVI—XVIII c. in the creative heritage of the Polish poet and writer Tomash Padura, a native of the family of Bratslav nobleman. It was noted that in his young years the main source for him was oral folk art - storytelling, legends, Ukrainian songs and historical dumas. A few decades after the fall of the Hetm- anate, they reflected the realities of the Cossack era, the character and activities of its leaders. The complex of sources for Padura also included Polish literary and historical narratives with relevant assessments of the Ukrainian past. In Pa- dura’s works, Ukraine appears before the reader as a mysterious and exotic land that has been associated with freedom and freedom-loving people for centuries. Therefore, the main character of his works was the Cossacks, the chivalrous spirit of the Cossacks, victories over external enemies Moscovites, Tatars and Otto- mans were celebrated. At the same time, Padura proclaimed the idea of Polish- Ukrainian unity, bypassing the conflict pages in their past, sought, first of all, to involve the Ukrainian people into the struggle for the Polish cause - liberation from Russian imperial oppression. The leading figure in the poet’s poem is Kosh Ataman Ivan Sirko, who was distinguished for his courage and fostered a sense of independence and freedom in the hearts of his comrades. At the same time, Padura keeps silent about Sirko’s confrontation with Hetman Petro Doroshenko, who continued Bohdan Khmelnytsky’s policy of uniting Ukraine within ethnic boundaries. The figure of Hetman Ivan Mazepa as a fighter against Russian des- potism is also positively assessed. Padura strongly protests against the anath- ema imposed by the Moscovites on the “native hetman” and its proclamation in Ukrainian churches. Padura’s assessment of the Cossack era takes a completely different tone when it comes to the Ukrainian cause itself, the people’s desire to gain independence. In particular, he gives the most negative traits to Hetman Bohdan Khmelnytsky, who revived the Ukrainian state in the middle of the XVII century. Thus, the ethnic origin of Tomash Padura influenced the objective per- ception and coverage of the past of Ukraine. However, his work had a positive impact on the formation of historical themes as an integral factor of the Ukrai- nian national revival.
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Mambetova, G. R. "STRUCTURAL ANALYSIS OF THE CRIMEAN TATAR FOLK COMIC SONGS." European Journal of Humanities and Social Sciences, September 8, 2018, 13–23. http://dx.doi.org/10.29013/ejhss-18-4-13-23.
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Mustafayev, Femiy. "Creative activity of Crimean Tatar composers of the XX century: musical and ethnological dimensions." National Academy of Managerial Staff of Culture and Arts Herald, no. 1 (April 20, 2021). http://dx.doi.org/10.32461/2226-3209.1.2021.229586.
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Purpose of Research. The purpose of the research is to analyze the creative activity of Crimean Tatar composers of the XX century: A. Refatov, J. Sherfedinov, I. Bakhshish. Methodology. The research methodology is based on the use of historical and musicological, comparative, chronological, systematic methods, which have allowed to show the creative components of the composers. Scientific Novelty. The scientific novelties are the attempts to comprehensively highlight and study various aspects of the activities of artists as musicians, composers, conductors, teachers, ethnographers, public figures; to supplement, clarify and systematize the biographical data of artists; to study and highlight their significant achievements; to determine the contribution of composers to the development of Crimean Tatar music. Conclusions. The activities of A. Refatov, J. Sherfedinov, I. Bakhshish are the foundations for the formation of Crimean Tatar professional classical music. They worked in various genres such as opera, overture, suite, symphony, music for performances, chamber and instrumental, vocal and choral music, etc. Their activities are based on the national and cultural traditions of the Crimean Tatars. The musicians paid special attention to collecting, studying, processing and publishing folk songs. An important component of the artists' activities were theoretical works on the history and theory of folk music. Creative achievements, teaching activities, active musical and public position contributed to the revival as well as to the dynamic development of the Crimean Tatar musical culture.
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Карагёзян, Гоар. "Вхождение армянской легенды в европейскую историко-литературную традицию." Herald of Social Sciences, September 8, 2023, 137–50. http://dx.doi.org/10.53548/0320-8117-2023.2-137.
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Many European chroniclers included in their narrations the legend of the Tatar Khan and the Armenian king’s daughter, who gave birth to a monster, which, as a result of baptism, turned into a beautiful baby, prompting the Khan and the people to accept Christianity. Mainly the same elements constitute the plot of the legend. However, their correlations and combinations change in individual chronicles and annals, as well as in the chivalric novel "The King of Tars". The narrative is often augmented with supplementary events, such as the capture of Jerusalem by the Tatar Khan, the expulsion of the Saracens from Jerusalem, the capture of Aleppo, Damascus, and other cities by the combined armies of the Tatars, Armenian and Georgian kings. The main source of such additions, brought into the plot, was the well-known history by Hethum "La Flor des es-toires de la Terre d'Orient", to which Giovanni Villani refers as well, recommending the book by monk Hayton, written upon the commission of Pope Clement V, to get acquainted with the deeds of the Mongols. As for the Armenian trace of this legend in the European historical-literary tradition, there are obvious parallels between the plots of the first branch of "David of Sassoun" and the legends, concerning the story of the Armenian king's daughter, given in marriage to a non-Christian, which circulated in the West. Veselovsky's excerpt, cited from an Armenian folk poem called "The Lament of Susanna", which he had taken from the collection of "Armenian Popular Songs" published by G. Alishan, is fully consistent with the first part of the legend spread in the West.
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Chorna, Nataliia. "INTANGIBLE CULTURAL HERITAGE AS A TOURIST RESOURCE." Market Infrastructure, no. 59 (2021). http://dx.doi.org/10.32843/infrastruct59-5.
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Despite a complex and often tragic history, the Ukrainian people have inherited from previous generations a powerful array of cultural heritage sites, much of which has survived to the present day. Represented by a tangible and intangible component, cultural heritage in society fulfills the ambitious tasks of forming civic consciousness, a sense of national dignity, patriotism and pride in the glorious historical past. In addition, it is able to successfully implement such tasks as the formation of the tourist image of the territories, by attracting the attention of tourists to increase the demand for recreation in the region and thus solve a number of socio-economic problems of the latter. Unlike tangible cultural heritage, the objects of which are mostly known to the general public, elements of intangible cultural heritage are often unknown not only to foreign tourists but also to citizens of the state. In this regard, given the uniqueness of many elements of the intangible cultural heritage of Ukraine, as well as their ability to become a powerful tourist resource, it is obvious the need for greater promotion, the formation of a stable interest in them. Undoubtedly, the inclusion of elements of intangible cultural heritage in the National List and the UNESCO Representative List, as well as holding various thematic festivals, master classes with folk artists, organizing exhibitions of their works, creating and disseminating advertising and information products on the subject. Currently, the National List of Elements of Intangible Cultural Heritage has 26 items, Petrykivka Decorative Painting as a phenomenon of Ukrainian ornamental folk art, Cossack Songs of Dnipropetrovsk Region and the Tradition of Kosovo Painted Ceramics are included in the UNESCO analogue. The Crimean Tatar ornament ornek and the culture of Ukrainian borscht are waiting to be included in the UNESCO List. Being a valuable tourist resource, intangible cultural heritage is able to develop the tourist potential of the territory and form the competitive advantages of the tourist product in the world and national tourist market.
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BORODOVSKAYA, Liliya, Ziliya YAVGİLDİNA, Elena DYGANOVA, Larisa MAYKOVSKAYA, and Irina MEDVEDEVA. "The possibilities of artificial intelligence in automatic musical transcription of the Tatar folk song." Rast Müzikoloji Dergisi, April 4, 2022. http://dx.doi.org/10.12975/rastmd.20221018.
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Kayumova, Elvira Rimatovna. "Mamadysh Kriashen Folk Music Traditions in Contemporary Recordings (review of materials collected in 2013)." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 20 (June 27, 2017). http://dx.doi.org/10.17161/folklorica.v20i0.6606.
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The article characterizes folk music traditions of Kriashens, the Christianized Tatars of the Volga-Ural region. The author focuses on materials collected during an expedition in 2013 to the Mamadysh region of Tatarstan, Russia. Recordings of music and poetry samples, notation, transcription of verbal texts, and photographs were made by the author. The author presents remarks on the genre structure of the material (including lore associated with calendric rites and divination; life cycle rites; game and dance songs; childlore; religious lore as well as the instrumental musical tradition) and discusses the current state of the Mamadyshsky Kriashen tradition. In the villages of Vladimirovo, Iukachi, Ziuri and Komarovka the core of the folk music tradition is mainly composed of ritual songs. In the village of Nikiforovo, liturgical chants (a folk version of Orthodox prayers) tend to dominate the tradition.
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A. Rakhmatullina, Asiya, Flera S. Sayfulina, and Luisa F. Zamalieva. "THE FOLKLORIC ELEMENTS IN THE G. BASHIROV’S WORKS." Gênero & Direito 8, no. 7 (December 27, 2019). http://dx.doi.org/10.22478/ufpb.2179-7137.2019v8n7.50076.
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The article is devoted to the study of folkloric elements in the works of Tatar writer of the second half of the twentieth century, Gumer Bashirov. Verbal folklore reflects the spiritual world of the people, its ideals and dreams, values of life, centuries-old creative experience of the people, language features, poetic idea of the world. Also, folklore is unique in its form and content, themes and subjects, which attract writers and poets. In the works, which depicts the spiritual world, the way of life of the people, their rural life, the use of folk traditions and elements is an integral part of the work of art. In the Tatar village prose, which includes the work of the studied writer, in order to reflect the Tatar life in the countryside, elements of family and household and calendar customs are often included in the skeleton of the work. In this work, the objects of study are the folklorisms used in Bashirov’s autobiographical novel "My homeland is a green cradle." The aim of the study is identifying and studying of switching the function of the folkloric elements in the studied novel. The author sees one of the purposes for writing this novel is in the preservation of Tatar folk customs, rituals, traditional foundations of rural life and language specifics. The study enables to conclude that the autobiographical novel "My homeland is a green cradle" by G. Bashirov has prominently many examples of Tatar verbal folklore. The author uses almost all the main genres of Tatar folklore: fairy tales, tales and legends, song folklore and baits (lyrical epic), small genres – proverbs, sayings, omens, winged words, good wishes, curses, conspiracies, oaths, as well as family and household and calendar customs that existed in the early twentieth century.