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Artículos de revistas sobre el tema "Russian Part songs"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Amelina, I. O. "Development of students’ sociocultural competence with the use of war-themed songs." Proceedings of the Southwest State University. Series: Linguistics and Pedagogy 14, no. 4 (2025): 31–43. https://doi.org/10.21869/2223-151x-2024-14-4-31-43.

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The article is devoted to the features of working with the material of war-themed songs for the purpose of developing sociocultural competence in the context of teaching Russian to foreigners.The relevance of the study is determined by the need to consider the issues of using war-themed songs for the development of sociocultural competence, which meets the guidelines of modern methods of teaching Russian as a foreign language to master the language in the context of a dialogue of cultures, as well as to form a positive image of Russia in the minds of foreigners.The purpose of the work is to re
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2

Bashirova, Nigar. "TEACHING RUSSIAN TO MILITARY PERSONNEL TROUGH PATRIOTIC SONGS LYRICS." History of Science 6, no. 1 (2025): 62–70. https://doi.org/10.33864/2790-0037.2025.v6.i1.62-70.

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The role of vocal songs in developing and formatting of normative and communicative aspects in culture of speech as well as problems of understanding of grammar and lexis materials by second language learners are enlightened in the article. Music and songs are key points in the methodological chain in teaching process of Russian for foreigners. The proved argumentations of importance in familiarization with the military history of the target country by the help of songs are introduced in the article. Enormous attention on developing and establishing the norms of cultural speech is emphasized.
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3

Semen, Natalia. "MODERN RUSSIAN MUSIC AS A TOOL FOR THE SPREAD OF PRO-RUSSIAN NARRATIVES: FEATURES AND WAYS OF COUNTERACTION FROM UKRAINE." Bulletin of Lviv Polytechnic National University: journalism 2, no. 8 (2024): 65–70. http://dx.doi.org/10.23939/sjs2024.02.065.

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Over the course of two years of full-scale war, numerous studies demonstrate that a portion of Ukraine’s population still maintains an interest in Russian-language musical products. This has a particularly negative impact on the consciousness of such citizens and supports the armed aggression of the Russian Federation. Through the monetization of music streaming on various platforms, funds flow into Russia’s budget, which it then uses to purchase weapons for its war against Ukraine. Music is enjoyed by different generations of people, regardless of age, status, or nationality. That is why it i
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4

Belodedova, Margarita G. "“HERE MALO GREW UP, AND HERE HE HUNTS AND FISHES”: FUNCTIONS OF NENETS NYUKUBTS SONGS." Folklore: structure, typology, semiotics 7, no. 3 (2024): 10–32. http://dx.doi.org/10.28995/2658-5294-2024-7-3-10-32.

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Nyukubts songs are a Nenets genre that is often compared to lullaby songs, in particular, to the lullaby of the Russian tradition. These genres can be compared, in particular, due to their belonging to both maternal and children’s folklore – both lullabies and nyukubts songs can be sung by adults for young children and by children themselves for their younger siblings. Despite their frequent comparison, however, these genres have quite marked differences, the most important of which are evident in the contexts in which they are performed. The most important (but not the only) function of lulla
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5

Kozlova, Irina, and Elena Levochskaya. "“I Felt Frightened and Then I Started Singing”: Songs at Russian Protest Actions." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 27 (December 18, 2023): 51–80. http://dx.doi.org/10.17161/folklorica.v27i.21550.

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This article explores the role of songs in Russian protests. Data are drawn from ethnographic observations made at protests held between 2015 and 2022, mostly in Moscow and St. Petersburg, as part of the project, “Monitoring Contemporary Folklore,” based at the Russian Presidential Academy of National Economy and Public Administration. The authors consider materials from 240 protests. Viewing protests as an act of communication, the article analyzes the circumstances for song performances and suggests a hypothesis for songs’ communicative goals. The article additionally demonstrates how song c
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6

Zhurkova, Daria A. "Soundtrack’s Genre Patterns of the Russian Retro-series about Soviet Pop Artists." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 37–55. http://dx.doi.org/10.37816/2073-9567-2023-69-37-55.

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Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original,
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7

Pilnikova, A. Yu. "An Analysis of Musical Texts in the Song Tradition of Tsar’s Coachmen." Issues of National Literature, no. 4 (December 24, 2024): 88–99. https://doi.org/10.25587/2782-6635-2024-4-88-99.

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This article analyzes the texts of the song tradition of the Tsar’s coachmen as a unique phenomenon of Russian folk culture. The relevance of the study stems from the need to preserve intangible cultural heritage, particularly song traditions that reflect the historical, social, and aesthetic features of 18th–19th century Russian life in the Republic of Sakha. The song texts of this tradition, combining musical and literary elements, played a significant role in the working and emotional lives of the coachmen but remain underexplored. The analysis of the musical components of these songs offer
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8

Orlitsky, Yu B. "Siberian Free Verse of the 1920s – 1930s: General and Special in a New Poetic Form." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 129–55. http://dx.doi.org/10.25205/2410-7883-2020-2-129-155.

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Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of fre
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9

Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.

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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New
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10

Ursegova, Natalia A. "WEDDING MUSICAL AND POETIC FOLKLORE OF RUSSIAN POPULATION OF THE SOUTHERN URAL." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 258–67. http://dx.doi.org/10.37816/2073-9567-2020-58-258-267.

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The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing a
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11

Melichárek, Maroš. "War Song in a Service of Ideology. Comparative Essay on the Example of Yugoslav and Ukrainian-Russian Conflicts." Balkanistic Forum 30, no. 3 (2021): 148–68. http://dx.doi.org/10.37708/bf.swu.v30i3.7.

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Both the official army music and combatants’ informal folk songs have always played a noteworthy role in their respective societies regardless whether this music was created as means of actual propaganda or subsequently as part of reinvented commemorative culture. This article focuses on comparison of the two most recent European armed conflicts, namely 1) the ethnically motivated conflicts in former Yugoslavia between 1992 and 1995/1999, and 2) the interethnic violence followed by Russian military intervention in Ukraine in 2014; the Russo-Ukrainian conflict has not yet been settled and still
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12

Bukhogolova, S. B., and B. L. Tushinov. "Folklore of Olkhon Buryats in the S. P. Baldaev fond of The Center of oriental manuscripts and xylographs of IMBT of SB of RAS." Orientalistica 6, no. 3-4 (2023): 705–27. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-705-727.

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The article offers a translation from Buryat into Russian of the folklore materials collected by the ethnographer S. P. Baldaev during his expedition to the Olkhon region in 1962. The source base for the study is case No. 616 on 18 pages from the fund No. 36 “Folklore of the Olkhon Buryats (songs, legends)”. Of interest are the songs that reveal the traditional way of life of the Olkhon Buryats. The novelty of the study is due to the low level of knowledge of the original folklore of the Olkhon Buryats, which is a significant part of the heritage of S. P. Baldaev, who has not yet become the ob
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13

Mininkova, Ludmila V., та Daria G. Bender. "The Hero and the “Potionˮ from “Malyuta Skuratov's Daughterˮ: the Death of Prince M.V. Skopin-Shuisky in Peoples Memory". IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, № 1 (31 березня 2025): 58–64. https://doi.org/10.18522/2687-0770-2025-1-58-64.

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One of the most striking images of the Time of Troubles of the early 17th century in the Russian historical consciousness is Prince Mikhail Vasilyevich Skopin-Shuisky, and his death is one of the significant plots of folklore. We have studied folk songs of this period, revealed the perception of the people and their version of the events that took place. Judging by the text of folk songs, the cause of the death of the prince who saved Moscow from the Tushino people was a “potionˮ given to him during a feast by Malyuta Skuratov's daughter, Ekaterina Shuiskaya, the wife of the tsar&
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14

Deryugina, Lyudmila V. "M.A. Maksimovich as the Addresse of N.V. Gogol's Letters (From the Commentary)." Literary Fact, no. 2 (28) (2023): 89–102. http://dx.doi.org/10.22455/2541-8297-2023-28-89-102.

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The article is devoted to the relationship between N.V. Gogol and M.A. Maksimovich (1804–1873), his fellow countryman from the Poltava region. In his family there were writers and professors, they were proud of it, and Maksimovich himself from childhood dreamed of becoming a professor of botany in Moscow, but became a professor of Russian literature in Kiev and as a philologist and historian lived a fruitful scientific life. With Gogol he was brought together by his love for Little Russian songs. For the famous collection of songs by Maksimovich, Gogol offered several of his recordings and too
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15

Золотова, Татьяна Аркадьевна, Наталья Игоревна Ефимова, and Екатерина Андреевна Плотникова. "Traditions of Russian Folklore in Mari El Republic (Folk Calendar of Russian Migrants)." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 35–52. http://dx.doi.org/10.26158/tk.2019.20.5.003.

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В настоящей статье предложено описание календарных обрядов (зимних, весенних, летних и осенних) в пределах одной локальной традиции. В основе статьи - материалы, собранные на территории северо-восточной части Республики Марий Эл (Мари-Турекский, Новоторъяльский, Сернурский, Куженерский, частично Килемарский районы) по единой программе фольклорными экспедициями Марийского государственного университета в Республике Марий Эл (руководитель - профессор Т.А. Золотова) на протяжении последних десятилетий ХХ в. и первых десятилетий XXI в. Они представляют собой хронологический срез календарного фолькл
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16

Zhang, Min. "The concepts of “Motherland” and “State” in Russian language." Litera, no. 1 (January 2024): 312–21. http://dx.doi.org/10.25136/2409-8698.2024.1.69218.

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The subject of the study is the concepts “Motherland” and “State”, their synonyms and associative images in Russian songs and Russian language, including Russian phraseological units, proverbs and sayings. The first concept is understood as a small homeland and a large homeland. Each person has his own small homeland, which is associated with place of birth, family, house, street, village, town, etc. The large homeland in a broad sense refers to the native country. The small homeland is part of the big homeland. These concepts play a role in the formation of Russian person’s national conscious
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17

Воропаева, Валентина A. "Певец кыргызского комуза". Studia Orientalne 6, № 2 (2014): 241–54. http://dx.doi.org/10.15804/so2014214.

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The author presents the figure of Aleksander Zatajewicz (1869–1936), famous Russian/Soviet ethnographer and composer. Zatajewicz was of Polish descent, in years 1904–1915 he worked in Warsaw. He became a part of history of Kazakhstan and Kyrgyzstan, as he was the first to take on the challenge to collect the Kazakh and Kyrgyz melodies and folk songs and to write them down in notation. Zatajewicz zeal in this difficult task can be best illustrated by numbers. In 16 years (1920–1936) he has collected and written down 2 600 melodies and folk songs from Central Asia, Altai and Siberia, and affixed
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18

Krasnikova, Tatiana. "KIRILL VOLKOV CREATIVITY IN THE ASPECT INTERACTION OF THE CONCEPTS «FOLKLORE AND STYLE»." Ученые записки Российской академии музыки имени Гнесиных, no. 45 (2023): 26–31. http://dx.doi.org/10.56620/2227-9997-2023-2-45-26-31.

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The paper provides an insight into the elements of style of the outstanding Russian composer Kirill Volkov. They are defined within the sonata genre for a chromatic free-bass bayan and studied in terms of the synthesis of arts and in view of the implementation of Russian folklore in the work of the composer, which allows to appreciate this part of his artistic legacy as a single text communicating the idea of Russia spiritual resurgence. Studied as a single text, declarative of the unique interpretation of the genre for a chromatic free-bass bayan, Volkov pieces revealed bayan new technical an
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19

Ursegova, N. A. "WEDDING MUSIC AND POETRY FOLKLORE OF THE RUSSIAN POPULATION OF THE SOUTHERN URALS." Arts education and science 1, no. 3 (2020): 183–88. http://dx.doi.org/10.36871/hon.202003022.

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The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing
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20

Bogdanov, Fedor Yurievich. "The old song in dialogue with a work by a modern composer (dedicated to the 165th anniversary of the birth of the Russian songwriter Matvei Ozhegov)." Культура и искусство, no. 7 (July 2025): 1–11. https://doi.org/10.7256/2454-0625.2025.7.75048.

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The article is dedicated to Matvey Ozhegov's 165th birthday. The article is devoted to the popular Russian song Mezh krutyh berezhkov ["Between the steep banks"]. Modern Russian composer Vladimir Ryabov used this music to create variations. It is noted that the author of this song is Matvei Ozhegov, a self-taught songwriter who worked at the turn of the XIX and XX centuries. He was born into a peasant family in Vyatka province. The process of popularization and cultural diffusion of his songs is described. Throughout his life, Matvei Ozhegov composed over a hundred and fifty «songs in the spir
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21

Safonova, Victoria V. "Creative Writing as Part and Parcel of Developing Communicative & Intellectual FL Learners’ Powers." European Journal of Social Science Education and Research 5, no. 1 (2018): 130–41. http://dx.doi.org/10.2478/ejser-2018-0014.

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Abstract For many years in ELT methodology the questions of teaching writing in ELT coursebooks have been given much attention in terms of its nature, differences between written and spoken speech, ELT objectives and approaches to teaching writing, types of writing genres, writing assessment. But one rather neglected area in that regard is a graded teaching of creative writing to FL learners. The fifteen-year experience with organizing language-and-culture competitions launched by the Research Centre “Euroschool” for foreign language /FL/ students across Russia have proved that even intermedia
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22

Джанумов, Сейран Акопович, and Ирина Николаевна Райкова. "Peter the Great and His Time in Russian Song and Prose Folklore." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 11–25. http://dx.doi.org/10.26158/tk.2021.22.3.001.

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В статье, посвященной 300-летию Российской империи и 350-летию со дня рождения Петра Великого, речь идет об отражении в фольклоре петровского времени некоторых важных военных событий: Северной войны со Швецией 1700-1721 гг. и ее кульминации - Полтавской битвы. Отмечается, что в исторических песнях о Северной войне есть не только изображение военных событий, но и окрашенный лиризмом, психологически верный показ душевного мира персонажей, их ожиданий и надежд. Представляет интерес и песня о русских солдатах, готовящихся к сражению со шведами, с иносказательным мотивом приготовленного врагам «уго
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23

Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.

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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.
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24

Enukidze, Natela I. "“In Her Own Repertoire”: Ksenia Kourakina on the Stage of the Cameo Theater Krivoe Zerkalo [Distorted Mirror]." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 128–39. http://dx.doi.org/10.56620/2782-3598.2023.2.128-139.

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This article presents an attempt to reconstruct the intermediate repertoire of the cameo theater Krivoe Zerkalo [Distorted Mirror]. During the Soviet period of the theater’s activity, the “singer of intimate songs” Ksenia Kourakina (1903–1988) enjoyed considerable success among the sideshow actresses, who, according to the press announcements, performed “in her own repertoire” (a Russian expression, meaning “behaving in her own typical manner”). The possibility of a partial reconstruction has been provided by materials of the State Museum of Musical and Theatrical Art (St. Petersburg). The fun
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25

Kovtun, Kateryna. "Oi u luzi chervona kalyna (“Oh, the Red Viburnum in the Meadow”) as an Anthem-Song: Social Roles and Genre Transformations in the Time of War." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 74–79. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294625.

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Countering the Russian invasion is the subject of many songs dating back as far as several centuries. Oi u luzi chervona kalyna (“Oh, the Red Viburnum in the Meadow”) is one of such songs. Intonation structure of this folk song, remarkably resembling an anthem, represents the mighty power of generations and unites the communities in their struggle against the enemy. Investigating the genre transformations of this piece and it communicative models that consolidate communities serving as an attribute of Ukrainian national identity as opposed to the enemy proves the importance of the subject of t
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26

Zhurkova, D. "Soviet Pop Artists in Russian TV Series: Integration of Dramatic Models of Psycho- and Socio-Biography." Versus 2, no. 5 (2023): 91–110. http://dx.doi.org/10.58186/2782-3660-2022-2-5-91-110.

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This article deals with the dramaturgical and musical patterns of modern Russian television biopic series about Soviet pop artists. The concept of psycho- and sociobiography as developed by the Polish researcher Eva Mazerski is used as a means of analysis. The first section describes the regularities of particular dramatic models and traces their development in late Soviet cinema. The second section examines the convergence and integration of these dramatic models on the basis of extensive material drawn from Russian TV series dedicated to Soviet pop music stars. Special attention is paid to t
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27

Chernysheva, Ekaterina N., and Svetlana A. Tyaglova. "FORMATION OF CULTURAL VALUES OF STUDENTS IN THE PROCESSING OF RUSSIAN FOLK SONGS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 223–30. http://dx.doi.org/10.17223/22220836/42/19.

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The article proposes the author's version of the in-depth work with the folk original source, which contributes to the formation of cultural values of students in the course of the Arrangement course of the teaching course Academic Choir at the Tyumen State Institute of Culture. A distinctive feature of the course is the regional component – Russian folk songs of the Tyumen region and the region are used as musical material for student work. As part of the study, we identified the following contradictions: – between the prescription of the State educational standards on interdisciplinary disci
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28

Sokolova, Marianna E., and Marina V. Artamonova. "Heroes, Antiheroes of Modern Russian Youth." Общество: социология, психология, педагогика, no. 11 (November 29, 2023): 17–22. http://dx.doi.org/10.24158/spp.2023.11.1.

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The article examines the issue of the formation of group identity among young people. Heroes of the time act as symbolic value-behavioral complexes, they are part of the conceptual apparatus for analyzing changes in attitudes towards historical personalities, historical memory as the basis of solidarity. The current state is char-acterized by trends of changes in value attitudes among Russian students, which inevitably affects social soli-darity. The theoretical apparatus is based on an appeal to the classics of sociology (E. Durkheim), the concept of anomie is considered in relation to the cu
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29

Korolkova, Inga V. "Wedding Songs of the Novgorod Region: To the Issue of the Tunes Territorial Distribution." Contemporary Musicology 9, no. 2 (2025): 214–41. https://doi.org/10.56620/2587-9731-2025-2-214-241.

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The musical features of wedding rituals of the Novgorod region have only been fragmentarily studied to date in terms of the territorial distribution of melodies. This article aims to fill this gap. The article is based on materials obtained from folklore fieldwork carried out by the Leningrad (St. Petersburg) Conservatory between 1968 and 1992. The work sets out to introduce the structural-typological and areal characteristics of previously unknown field materials into scholarly circulation. 13 rhythmic types of wedding songs that are most representative of the Novgorod region are identified a
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30

Mikhaylova, Alena, and Tatyana Bocharova. "USE OF BARBARISMS IN POPULAR MUSIC TEXTS." Bulletin of the Donetsk National University. Series D: Philology and Psychology 3 (June 27, 2024): 111–18. https://doi.org/10.5281/zenodo.12564923.

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The article addresses the problem of increasing the amount of foreign vocabulary in Russian-language texts. The use of barbarisms in modern domestic popular songs is considered. The authors describe some features of this type of discourse, which act as prerequisites for the emergence of a large amount of foreign language units, in particular the desire to follow speech trends. The content of the concepts of barbarism and foreign language inclusions is briefly outlined. Various points of view on the issue are provided. General criteria for the selection and classification of the lexical units u
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31

Ivanauskaitė-Šeibutienė, Vita. "The Great Songbooks: Origins of the Academic Lithuanian Folksong Edition in Folklore Publications by Brothers Juška." Tautosakos darbai 57 (June 1, 2019): 200–223. http://dx.doi.org/10.51554/td.2019.28433.

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The aim of the article is revealing the origins of the academic edition of the Lithuanian folksongs. The subject of analysis comprises the folklore heritage of the most famous collector of the traditional Lithuanian culture from the 19th century, including folksongs, wedding customs, and lexical data – priest Antanas Juška (1819–1880). He recorded over 7000 of Lithuanian folksongs, including 1852 melodies. Juška accumulated the majority of these songs during a comparatively short period of time, i. e. approximately in 1864–1871, and in a rather small locality of Lithuania – namely, the Veliuon
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32

Žičkienė, Aušra. "Let Us Raise and Clang Our Glasses! Tracing the History of the Student Songs." Tautosakos darbai 50 (December 28, 2015): 153–82. http://dx.doi.org/10.51554/td.2015.28995.

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The article aims at revealing the vitality of the oral cultural pattern as illustrated by the songs spread by perhaps the most literate community – students. The analysis of Lithuanian student songs focuses on two compositions that have been favored by students for quite a long time, travelling between European universities orally (at least in part) and sometimes even radically changing their shape.One of these songs is entitled Krambambuli (that is also the name of a strong liquor). It appeared in Lithuania in relation to the establishment of the student corporations following the German exam
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33

Петухова, Олена Іванівна. "ИНТЕРМЕДИАЛЬНОСТЬ В ПОВЕСТИ ЛАДЫ ЛУЗИНОЙ «НИКОЛА МОКРЫЙ»". Наукові записки Харківського національного педагогічного університету імені Г.С. Сковороди "Літературознавство" 2, № 84 (2017): 110–21. https://doi.org/10.5281/zenodo.268994.

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One of the stories by modern Ukrainian Russian-speaking writer Lada Lusina “Nikola Mokryi” (2011) is examined in the article. This story is a part of the cycle “Kyiv Witches” and until now it hasn’t become the object of special study. The aim of the work is the researching of its intermedial space, namely the author’s usage of the means of music, theatre and painting (iconography). The examining of main peculiarities of using the means of nonverbal image in a fiction text became the task of this work. The story studying allows extending an idea about the ways of postmodernism development in th
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34

Fakhrutdinova, Anastasiya, Lyubov Chumarova, Evgeniya Belyaeva, and Rimma Sagitova. "Pedagogical Value of Folklore Prosaic Genres in Intellectual and Moral Education of Future Teachers at the Foreign Language Lessons." ARPHA Proceedings 1 (November 5, 2019): 121–25. https://doi.org/10.3897/ap.1.e0111.

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The article is devoted to the issue of pedagogical value of folklore in intellectual and moral education of future teachers at the foreign language lessons. The authors of the article analyze why is folklore a valuable source in training teachers. In the article it was researched folklore genres which can be successfully used with educational purpose. It was also researched the works of well – known foreign and Russian scientists who made a big contribution to the theoretical and practical research of folklore. The authors of the article researched the works of pedagogues who used Russian folk
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35

Mazo, Margarita. "Stravinsky's Les Noces and Russian Village Wedding Ritual." Journal of the American Musicological Society 43, no. 1 (1990): 99–142. http://dx.doi.org/10.2307/831407.

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This study presents Stravinsky's well-known ballet Les Noces as seen by an ethnomusicologist familiar with wedding rituals and, particularly, laments of Russian villages. The music of Les Noces, statements made by the composer himself, and the data gleaned from published sources of folk music (those Stravinsky is known to have come in contact with or those accessible to him) are juxtaposed with observations obtained in field interviews with Russian villagers who themselves were participants in wedding rituals and performers of wedding laments. The conceptual and structural ideas of Les Noces a
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36

Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.

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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced fr
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37

Ratcliffe, Jonathan. "The Epic Legacy of Shono-Baatar." Inner Asia 24, no. 2 (2022): 279–302. http://dx.doi.org/10.1163/22105018-02302030.

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Abstract Compared with epic heroes such as Geser and Jangar who are widely popular among the Mongolic peoples of Inner Asia, the far less well-known epic of Shono-Baatar stems from a determinable and relatively recent historical basis: the eighteenth-century Dzungar prince Louzang Shunu and his seeking sanctuary from persecution by his relatives in the Russian Empire. While legends and short songs about this figure are widely attested from Kalmykia to Xinjiang, only among the Buryats has any full-length oral epic been preserved: a single specimen taken down from storyteller Sagadar Shanarsheev
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38

Савельева, Г. С. "Песни и причитания удорских коми в материалах Ф.В. Плесовского". ТРАДИЦИОННАЯ КУЛЬТУРА 26, № 1 (2025): 27–38. https://doi.org/10.26158/tk.2025.26.1.002.

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В настоящем исследовании дан обзор аудиоматериалов фольклорных экспедиций 1961, 1962 гг. Федора Васильевича Плесовского. Это самые ранние записи по Удорскому району Республики Коми, хранящиеся в Фольклорном фонде Института языка, литературы и истории Коми НЦ УрО РАН. Основу собрания составляют полевые исследования по р. Мезени. Часть записей была сделана по р. Вашке в ходе совместной экспедиции с сотрудницей сектора народного творчества Института русской литературы (Пушкинский Дом) АН СССР Т. И. Орнатской. В статье представлено жанровое содержание записей. Репертуар лирической песни и песен ли
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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China." NAN NÜ 13, no. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.

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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of
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40

Пашина, О. А. "History of Russian Musical Folklore Studies through the Eyes of Eugene W. Hippius: To the 120th Anniversary of the Scientist’s Birth." OPERA MUSICOLOGICA 16/2, no. 2024 (2024): 42–59. http://dx.doi.org/10.26156/operamus.2024.16.2.003.

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Статья посвящена воззрениям выдающегося исследователя народной музыки Евгения Владимировича Гиппиуса (1903–1985) на историю отечественной музыкальной фольклористики. Он считал важным изучение не только народной музыки как таковой, но и науки о музыкальном фольклоре, ибо это проливает свет на причины интереса к нему в определенные периоды прошлого, а также на эволюцию взглядов ученых. На основе анализа сборников народных песен конца XVIII — начала XX в., в которых отразилась позиция собирателей по отношению к народной песне, а также теоретических работ предшественников он выделил в рамках обозн
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41

Abdokov, Yuri B. "A Lurking Terrain by Margarita Kuss: Orchestral Style and Timbral Poetics." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2023): 62–78. http://dx.doi.org/10.35852/2588-0144-2023-3-62-78.

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The stylistic features of orchestral writing by Margarita Ivanovna Kuss (1921–2009) are examined in this article for the first time in Russian art studies. Her music was performed by the best Russian ensembles and conductors. M. Kuss was a musical authority for the leading musicians of the Soviet Union. For many years her house was a centre of attraction for the greatest modern Russian composers (D. Shostakovich, N. Peyko, B. Tchaikovsky, R. Bunin, M. Weinberg, G. Sviridov, G. Ustvolskaya). M. Kuss opinions and appraisals were valuable not only for the young composers, but also for world-known
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42

Строганов, Михаил Викторович. "The image of the Karelian in Russian humorous folk rhymes (chastushkas) of the Karelians to the problem of Karelian-Russian cultural interference." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 53–64. http://dx.doi.org/10.26158/tk.2019.20.5.004.

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Тверская земля является местом коренного заселения карелов с XVII в., поэтому проблема национальных контактов русского и карельского населений оказывается очень актуальной для Тверской области. Эти контакты описываются обычно как бесконфликтные, а культурный обмен - как интенсивный и плодотворный, но в реальной практике со стороны русских существовала ксенофобия, которая усилилась в XX в. в период индустриализации, когда карелы стали переезжать в города. Отражение «мягкой» ксенофобии, иронии над чужим мы видим в частушках. В XX в. уровень национальной идентичности карелов постоянно понижался.
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43

Meleshchenko, Oleksandr. "Gender in the Land of the Rising Sun (based on the Russian specialists’ researches on Japan). Part 1." Scientific notes of the Institute of Journalism, no. 1 (74) (2019): 124–35. http://dx.doi.org/10.17721/2522-1272.2019.74.11.

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The gender situation in the cosmogonic myths of the peoples of Japan is considered on the example of mythopoetry of the Ryukyu region, as well as the influence of these myths on the gender balance of the old Ryukyu societies both before Christ era and from its beginning up to the 19th century. The researcher E. Baksheev, based on the achievements of N. Nevsky – the founder of the Russian School of Japanese Studies, as well as his colleague A. Sadokova, reconstructed the role of a woman in the ancient Japanese society on the example of mythopoetry of the Ryukyu region. The chronicles «Records o
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44

Liu, Zhiqiang, and Yingyin Feng. "Ancient Chinese Poem “The Song of Bride”: Features of Translation by A.A. Shtukin." Nauchnyi dialog 13, no. 8 (2024): 97–109. http://dx.doi.org/10.24224/2227-1295-2024-13-8-97-109.

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The translation of A.A. Shtukin’s poem “The Song of the Bride”, which is part of the collection of ancient Chinese hymns and songs “Shijing”, is being considered. The relevance of the study is determined by the interest of Chinese researchers in the quality of translations of Chinese poetry into European languages, particularly Russian. There is noted interest from both Chinese and Russian researchers in the translation of the book “Shijing”, as it varies depending on the perception of foreign cultures. The features of A.A. Shtukin’s translation of the poem “The Song of the Bride” are highligh
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45

Lassan, Eleonora. "The Contemporary Russian Patriotic Song as a Phenomenon of a Post-Traumatic Society’s Condition." Slavistica Vilnensis 67, no. 2 (2022): 110–25. http://dx.doi.org/10.15388/slavviln.2022.67(2).99.

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The author has addressed both Soviet and post-Soviet song discourse a number of times already, as it is in the song discourse that one can discern the reflection of the ideological attitudes on the one hand and a certain indicator of how the spirit of the times changes on the other. The 2000s increased the impact channels of the song genre by adding the visual channel to the ones already existing; that is, a truly popular song is disseminated in clips. There appeared a new kind of a “civil” song in the Russian song space. It explicitly coincides with the propagandist trends, either the ones be
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46

Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.

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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral wor
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47

Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization." Aspects of Historical Musicology 14, no. 14 (2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.

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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in
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48

Gasparyan, Luiza A., and Zaruhi G. Hayryan. "Sayat-Nova’s Oeuvre in the Light of Interpretation and Translation by V. Bryusov." Studia Litterarum 9, no. 1 (2024): 168–85. http://dx.doi.org/10.22455/2500-4247-2024-9-1-168-185.

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Each national literature is a part of national history. It presents the features of the national culture and the people who live and develop in specific cultural and traditional conditions. Each nation has its unique genius that sings the national beauty. Armenian ashug Sayat’-Nova’s creativity has had a significant influence on Armenian literature. Sayat’-Nova, as a national poet, had created poetry with its genre subdivisions. We can consider such categories as spiritual, patriotic poetry, glamorous social poetry, and folk-gusan songs. The present research has been carried out along the line
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49

Platonova, Alina Aleksandrovna. "The study of works for voice and piano dedicated to Special military operation by future conductors of a military orchestra." PHILHARMONICA. International Music Journal, no. 4 (April 2024): 30–43. https://doi.org/10.7256/2453-613x.2024.4.70190.

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The subject of the study are works for voice and piano, which are part of the collection "Voices of the Motherland", published following the results of the All-Russian creative competition of composers and poets for composing a patriotic song. The object of the study is the military-patriotic repertoire of the XX–XXI centuries. Special attention is paid to the issues of professional mastery of the skills of careful piano accompaniment by future military brass band conductors, namely: reading sheet music, feeling the balance between soloist and accompanist, understanding dynamic, articulatory,
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50

Turchak, Lesia. "Illia Riepin's Work in the Context of Ukrainian and World Artistic Culture." Issues in Cultural Studies, no. 38 (October 29, 2021): 204–15. https://doi.org/10.31866/2410-1311.38.2021.245945.

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The purpose of the article is to reveal the contribution of the realist artist, teacher I. Riepin to the Ukrainian and world fine arts. The research methodology is based on the principles of consistency and historicism. The author of the article applies the following methods of scientific research: exploratory research, source studies, systematic and analytical, biographical methods. Scientific novelty. The article studies the work of I. Riepin as a representative of Ukrainian culture, since the ideology of the Russian Empire considered the artist’s activities in the context of Russian a
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