How does the national Mordovian pipe sound. The role of instrumental music in the peasant life of the Mordovians

VII All-Russian scientific and practical pedagogical conference with international participation

Ethnocultural Education: Experience and Prospects

Section 10

Development of the ethno-cultural direction in teaching the subjects of the educational field "Art", upbringing and additional education of children and adolescents

Alekseeva L.A,

music teacher "Lyceum No. 43", Saransk

Mordovian folk musical instruments - monuments of the traditional musical culture of the ethnos

The concept of "musical instrument" in ethnic culture is interpreted quite broadly. In different situations, these can be scallops with paper stretched between the teeth, and a leaf of a tree, and an acacia pod, and an ordinary sewing bobbin, a household saw, and spoons. Among the traditional musical instruments of the Mordovians, mentioned in ethnographic materials and song texts, the most common beater (shavoma-M., chavoma - E.), wooden xylophone (kalkhtsiamat - M, caltseyamat-E), bells (paygonyat - M, bayaginet - E), jew's harp - M, E, violin (garze, arrow - M, kaiga - E), flutes (vyashkoma - M, veshkema - E); bagpipes (fam, ufam - M, puvama - E), trumpet (dorama, torama - M). Borrowed instruments, such as the harmonica, are also sometimes mentioned.

Musical instruments in the traditional culture of the Mordovians had an important symbolic meaning, acting as an indicator of social status, material level, emotional state, etc. The symbol of power -torama (dorama) in Mordovian folklore in epic poetry is identified with the voice of the legendary king and warrior Tyushti. At the moment when Tyushta resigns from his functions as a leader, he first of all removes himself from the drama, which is one of his military armor. The symbol of beauty, youth in traditional culture is the bells and their sound: the beautiful Marsha, who is called to marry the Russian fellow Semyon, "... dressed, shod ... dressed up," and among the components of this dazzling bright outfit with black boots, Saratov stockings, double dresses and azure ribbons belt with tassels of tambourines.

The bells were also part of the head, chest and waist decorations of the muzzle girl and were a symbol of girlhood. The ringing symbolized the girl's readiness to start a family, and therefore, after marriage, a woman no longer had to wear bells. The bell in the wedding ceremony also performed the protective function of a talisman, so that no one could harm the bride and groom. Often in the oral poetic work of the Mordovian people, the mention of a bell in the function of a herald of a very important event. The ringing of the bell is heard at the moment when the ritual cake “luvonkshi” is taken out of the oven. The oratorical skills of the matchmaker were compared with the ringing of the bell and bells, the beauty and strength of her voice were emphasized.

In traditional Mordovian poetry, nudes are a symbol of sadness. A nude performer either becomes sad at the moment of composing or playing a tune, or an unfortunate fate has befallen the musician. "There was a custom to play deplorable tunes in the cemetery on the nude." If the family had musical instruments and someone in the family knew how to play them, then this indicated a certain class level.

In the traditional musical culture of the Mordovians, instrumental music occupied an important place. As an integral part of the spiritual heritage of the people, it was an integral attribute of the life of the Mordovians, including pagan rites and holidays (calendar and family household); instrumental music was given a magical, healing and educational value.

Musical instruments were significant as symbols of power, beauty, girlhood, amulets. Performing musicians enjoyed the love and respect of the people, they had a high social status in society. In the bowels of folk instrumental performance, the sprouts of musical professionalism were born.

The auditory palette of the ancestors of modern Mordovians was filled with many musical sounds. In the morning hours, far away in the village, the tunes of a shepherd were heard, for whom playing the nude was a second profession. "The rural community did not hire a herd to graze a flock who did not own the game of nudes."

Among the armor of the legendary Mordovian king and warrior Tyushti is a torama. In wartime, the voice of the torama gathered an army to defend their native land.

The rituals and holidays of the Mordovians are amazingly musical. There are many testimonies about the different stages of the wedding "performance", where instrumental music is mentioned. The holiday of the Christmas House - Roshtuvankudo, dedicated to the patron spirits of domestic animals, birds, bees and trees, also included rituals accompanied by playing musical instruments.

During Christmas time, young people, accompanied by pipers and violinists, went from house to house with songs. And one of the traditional violinists was invited to the autumn holiday "Teiteren piya kudo" (Girl's beer house).

Pagan worship of the patrons of Heaven, Earth, Water, the elemental forces of nature, animals and plants manifested itself in the numerous prayers of the Mordovians, among the components of which were ritual treats for all participants and spirits, singing - pazmoro (divine songs) and performing instrumental music and ritual dances.

The attitude to the musical instrument was very careful and reverent, as evidenced by one of the Mordovian riddles about the garza (violin), in which the violin is called a child (the only one).

The magic of instrumental music also extended into the field of healing. It was believed that the sounds of nudes could stop bleeding.

The musician-instrumentalist enjoyed great respect and love among the people. He is not just an excellent master of his craft (he plays the bagpipes well, for example), but also has the best human qualities, and he is very attractive in appearance. In the song “Tell the dog to ring the pichen kudnya”, well done nudes are more beautiful than beautiful girls, more beautiful than brides.

A piper in a Mordovian village is an enviable groom, and a classic example of this is in the song “Alyanyatse veshen tyanza” (“Father is looking for you”): neither for the son of a deacon, who will force you to pray, nor for a clerk-skripun, who will force you to hold a torch, the girl will not marry goes. Only when a songwriter, the son of a piper, is proposed as a possible candidate, consent is heard in response.

A lot of information about the traditional culture of the Mordovians contains figurative descriptions of the sound of instruments, their "voices". In oral poetry, they do not say "play" a musical instrument, but say "sing". Some musical instruments already contain a “singing” beginning in their name, since each of the names of the instruments contains the word “sing”: sendien morama (M), sandien morama (E) - a reed flute (literally “sandi”, “sunday” - reed, "morams" - to sing, as well as - morama pyashen (M), morama pekshen (E) - linden flute ("pyashe, pekshe" - linden) and others.

From the very beginning, the process of creating and improving musical instruments went in two ways: approaching the timbre of the human voice or striving for an accurate reproduction of the voices of nature. So, for example, an instrument can “scream like a girl”, as in a riddle about nudes: “Which teyterke are brave?” ("Who yells at a girl?"). The sonorous female voice was often compared to a bell.

Musical instruments can also convey the sounds of "... the nature surrounding a person - the singing of birds, the cries and clatter of animals, the sound of the wind, thunder and others."

In the oral and poetic creativity of the Mordovian people, the musician is endowed with the best human virtues, he is very attractive in appearance. In the depths of the traditional art of the Mordovians, professionalism was born: musical dynasties were formed (the son of a piper is also a piper), the possession of the craft was inherited (they taught to play the instrument and make the instrument from childhood), peculiar performing competitions were organized, ensemble playing required rehearsals, performers had high pay creative work (“girls hire a piper for a certain fee”), there were tunes specifically for listening, and not just to accompany singing and dancing.

Kalteima

Kalgerdema

Chakalka

nudes

Rubel Valek

Lulyamo

CHARACTERISTICS OF DANCE MELODIES AND MUSICAL INSTRUMENTS OF THE MORDOVIAN PEOPLE

The folk musical art of the Mordovians has evolved over many centuries in close interaction with the culture of neighboring peoples. In folk poetry, a musician and a dancer are depicted as cheerful and cheerful people.

The wide popularity of Mordovian musicians and dancers is evidenced by many materials from the folklore of neighboring peoples. In the Russian comic song "Kalinka-Malinka", recorded by AS. Pushkin in 1830, tells how a girl washed a veil on a Boldino raft and asked her mother to bring a Mordvinian with a bagpipe for dancing.

In the traditional Mordovian music and dance art, which has organically grown into the modern life of the people, archaic forms have been preserved, dating back to the general Finno-Ugric musical culture.

The dance creativity of the Mordovian people is characterized by developed collective and single (solo) performing traditions. According to their genre, traditional dances are divided into round dance, wedding, dance, non-ritual and borrowed from Russian or neighboring peoples.

Some types of ritual songs, dances and instrumental dance tunes, associated in the past with the ancient animistic cult of sacred trees, revered animals, domestic animals and birds, others have been preserved in the new function of non-ritual songs, dances and instrumental tunes.

An important place in the musical art of the Mordovian people is occupied by dance instrumental music.

Traditional types of Mordovian dance instrumental music are closely related to certain types of musical instruments, systematized on the basis of a vibrator (sound source): idiophones, membranophones, chordophones and aerophones

The sound source of instruments of the idiophone class is an elastic solid material. They were mainly used to beat the rhythm of dances in an ensemble with other types of traditional instruments, as well as to create ritual noise as a talisman in many ritual actions.

As idiophones, the Mordovians used all kinds of household items that accompanied the dance; buckets, basins, pans, stove dampers. In addition, the dance was accompanied by other musical instruments belonging to the group of idiots - this is the shawoma - an instrument in an ensemble with others was used to beat out the rhythm of the dances. The sounding body of the "shawoma" was a smoothly planed l a birch board impregnated with resin and hemp oil, 25-30 cm wide. Using a belt, it was hung on the neck or elbow of the performer's left hand. The sound was extracted with special small wooden mallets or wooden spoons. In a number of places, solo and in an ensemble, other musical instruments are used to accompany dances: spoons, a scythe, with the help of which the rhythm of a dance tune was beaten with a nail or bolt, bells of various sizes, which were hung along with coins and ringing metal plates to a traditional women's costume. At ritual wedding dances, the ringing of bells, coins and metal plates formed a kind of polyphony of two opposing dance rhythms, each of which had its own special structure and timbre, determined by the sharp sound of ringing jewelry of women dancing in a circle, as well as a rattle. This tool was a smoothly planed cylindrical wooden beam 15-20 cm long, 7-8 cm in diameter, with a handle at one end and teeth cut out along the surface, with a wooden or metal bracket attached to the upper edge of the cylinder and its handle.

In membranophones, the sound source is a stretched membrane made of leather or paper. In the dance and musical life of the Mordovian people, several instruments of this class are used:

a) a comb from a spinning machine or a comb for combing hair, on which thin birch bark or tissue paper was superimposed;

b) a leaf of a tree - a green leaf of birch or linden was applied to the lips, supporting with two fingers. As a single instrument, it is used to imitate bird voices, and in an ensemble with other instruments - to accompany dances or dance tunes.

The sound source of chordophones was one or more strings stretched between two fixed boards and set into vibration by plucking or friction. Such instruments accompanying dances or dance actions include the psaltery, the violin.

The oscillating body in aerophones is a column of air. The Mordovians distinguished between aerophones with interrupters, longitudinal flutes and flutes with an internal slot, natural pipes without a device for changing the pitch

Such musical instruments that accompanied the dance performances include:

a) bobbin - a spool of thread, one end of which is closed with a thin layer of birch bark or a piece of tissue paper. When playing, the closed side is applied to the lips, the performer extracts one sound by blowing.

b) an acacia pod, which is half a split acacia pod.

c) a whistle flute made of wicker, 30 to 70 cm long, with a wooden or bone whistle sleeve inserted into one end of the tube. The instrument was distinguished by rich performing possibilities. Dance tunes were performed on it.

d) a double clarinet made of two reed tubes of the same or different sizes, fastened on the sides, from 17 to 20 cm long. In the past, ritual dances and instrumental accompaniments to ritual songs at a wedding, shepherd songs, as well as household dance tunes were performed on such a clarinet.

Bagpipes of two types, differing in the material from which they were made and the number of pipes. They played the bagpipes mainly for dance, ritual and everyday dance tunes.

Starting from the 19th century, in addition to the instruments listed above, accompanying dance and dance actions, harmonicas were widely used - Vyatka, Saratov, Khromka and Russian two-row.

Instrumental dance tunes among the Mordovians are divided into tunes, compositionally consisting of two contrasting parts - a slow introduction (ushotks - "beginning") and a fast main part (kshtima - "dance", "dance"), and the melodies are indivisible by the nature of the parts, consisting of one dance or a whole dance action without an introduction.

The rhythm and structure of the dance melodies are square and the meter is usually even - two or four quarters.

named after N.P. Ogaryova

Faculty of National Culture

Department of Folk Music

Course work

Mordovian folk musical culture: genres, originality and way of life

Kutaeva E.O.

Saransk 2008

1. Settlement of Mordvy-Erzi and Mordvy-Moksha on the territory of the Republic of Moldova

2. Genre classification of Mordovian folk songs

3. The originality of Erzya and Moksha songs

4 Existence of Russian song in Mordovian villages

Conclusion

Literature

Applications

Introduction

The oldest references to the Mokshans and Erzyans date back to the era of Herodotus, who mentions them under the names of Androphages and Tissagets, describing their role in the Scytho-Persian war in 512 BC. e ... Later, the Mokshans play a role in the history of the Khazar Khaganate, the principalities of Vladimir-Suzdal and Ryazan, and the Erzyans in the history of the Volga Bulgaria and Nizhny Novgorod. According to the studies of Finnologists based on the study of the language, the Moksha and Erzya once experienced the cultural influence of the Sarmatians, Khanty, Huns, Germans, Lithuanians, Hungarians, Khazars, and later Tatars and Slavs, who neighbored them at different times. According to archaeological data, the Mokshans inhabited during their ancient history the lands in the upper reaches of the Don River to Moksha and Khopra, and the Erzyans - the Volga and Oka basins; further to the east, they settled already at a later time, mainly retreating before the Russians. The Russians began clashes with the Erzya in 1103, when the chronicle recorded the news of the attack of the Murom prince Yaroslav Svyatoslavich on the Erzya: "... Yaroslav fought with Mordva in the month of March on the 4th day and Yaroslav was defeated." In the XIII century, the Russians began to overcome the "Purgas Mordovians" (Erzya), especially after the founding of Nizhny Novgorod.

By 1226, the campaigns of Russian princes against the Burtases, the union of the Alans and Moksha belong. In 1226-1232, Yuri Vsevolodovich conducted a number of successful campaigns in the lands of the Burtases. The Tatar invasion significantly weakened the Erzya lands and subordinated them to the Tatar murzas, the Moksha kingdom became a vassal of the Mongols, and most of the male population as part of the Puresh army died during the Mongol campaign in Central Europe. In 1237, the Erzya land was completely devastated by Batu.

In 1377, the Erzyans, under the command of the Horde prince Arapsha, defeated the Nizhny Novgorod people and the troops of the Moscow prince Dmitry Ivanovich on the Pyan River. This pogrom did not stop Russian colonization, and the subjugation of the Erzya to the Nizhny Novgorod, Ryazan and Moscow princes proceeded gradually from the end of the 14th century.

The Temnikov prince Enikeev, with the Mokshans and Meshchera subject to him, took part in the campaign of Grozny against Kazan. After Ivan IV's campaigns against Kazan in the 1540s, the Moksha and later Erzya noble families swore allegiance to the Moscow prince. After the conquest of Kazan, part of the Erzya lands was distributed to the boyars; the rest temporarily became part of the royal Mordovian estates, but then were distributed to monasteries and landowners, mainly with the aim of converting the local population to Christianity. Next to the Russian landowners, the Meshchera and Mokshan noble families, who converted to Christianity and retained their titles, owned the lands (for example, the princes Bayushev, Razgildeev, Enikeev, Mordvinov and many others). Subordination to Moscow was expressed primarily in the seizure of lands and the imposition of heavy requisitions on the local non-Russian population, which, apparently, was the reason for the participation of the Moksha and Erzya in many riots and uprisings (starting from the era of the first impostor and up to Pugachev), as well as fleeing to the East. Erzyans took an active part in the uprising of Stenka Razin, and later, both Mokshans and Erzyans, in the uprising of Emelyan Pugachev.

Already in the first half of the XVII century. Moksha and Erzya moved across the Volga, and in the XVIII century. widely settled in the Samara, Ufa and Orenburg provinces. Those who remained in their former places were more and more subjected to Russification, mainly due to forced mass baptism (especially in the first half of the 18th century). The new converts did not understand the new religion, and the more zealous pagans tore off their crosses and destroyed icons; then troops were sent against them and the guilty were punished and even sentenced for sacrilege to be burned. Attempts to resurrect the "old faith", although in a different form, already imbued with Christian concepts, were repeated among the Erzya at the beginning of the 19th century. ("Kuzma Alekseev"). Nevertheless, the Mokshans and Erzyans were more and more exposed to Russification, but beyond the Volga, on new soil, this Russification proceeded more slowly than on the indigenous lands of the Mordovians; among the Erzya, schismatic sects of the “People of God”, “Interlocutors”, “Molokan”, etc. are developed. Russification also made great progress in the indigenous region of the Moksha; many villages have lost their former names and cannot be distinguished from Russian ones. Moksha retains its characteristics more steadfastly in the north of the Penza province, in Krasnoslobodsky, Narovchatsky and Insarsky; but here, too, groups of their villages, surrounded by Russians, are increasingly subject to Russian influence, which is facilitated by the improvement of communication lines, the destruction of forests, and seasonal trades.

By the beginning of the 20th century, the total number of Mokshans and Erzyans numbered more than 1 million people and they lived in the provinces of Ryazan, Voronezh, Tambov, Penza, Nizhny Novgorod, Simbirsk, Kazan, Samara, Saratov, Ufa, Orenburg, Tomsk, Akmola, Yenisei and Turgai. In 1917, their number was estimated at 1200 thousand people, according to the 1926 census, 237 thousand Mokshans and 297 thousand Erzyans lived in the Penza, Nizhny Novgorod and Ulyanovsk provinces, which later became part of the Mordovian autonomy, in total in the Volga region and in the Urals, 391 thousand Moksha, Erzya - 795 thousand, in the Barnaul district 1.4 thousand Moksha and 1.4 thousand Erzya, as well as 5.2 thousand Russified Moksha and Erzya were called the ethnonym "Mordva".

The number of the Mordovian population (Mokshan and Erzya) by regions of the RSFSR in 1926.

In 1937, the total number of Mokshans and Erzyans was 1249 thousand, in 1939 - 1456 thousand, in 1959 - 1285 thousand, in 1979 - 1191.7 thousand people. According to the microcensus of 1989, the number of Moksha and Erzya in the USSR was 1153.9 thousand people. (most Moksha and Erzya lived in the Soviet Union), of which 1072.9 thousand people lived in the Russian Federation, including 313.4 thousand people living in the Mordovian ASSR, which accounted for 32.5% of the population of the republic. According to Ethnologue data for 2000, the number of Mokshans was 296.9 thousand people, the number of Erzyans was 517.5 thousand people. The data of the Russian population census of 2002 give the total number of Mokshans and Erzyans living in Russia, which amounted to 843.4 thousand people, including 283.9 thousand people in Mordovia. (32% of the population of the republic).

Considering these data, I would like to believe that the people of Erzya and Moksha, opposing Russification and the change of the Republic, city or country, would always remember their history, and never disappeared at all; so that any Erzya or Moksha resident, answering the question - what nationality is he - without shame and regret, tell the truth!

In my term paper, I talk about the settlement of Mordvy-Erzi and Mordvy-Moksha on the territory of the Republic of Mordovia, as well as the classification of musical genres and the existence of Russian songs in rural villages.

1. Settlement of Mordvy-Erzi and Mordvy-Moksha on the territory of the Republic of Moldova

The Republic of Mordovia is located in the center of the European part of Russia in the Volga River basin, at the crossroads of the most important routes from the Center to the Urals, Siberia, the Volga region, Kazakhstan and Central Asia (see map No. 1). The territory of the republic is 26.2 thousand square meters. km. The length from west to east is about 280 km (from 42 ° 12 "to 46 ° 43" east longitude) from north to south from 55 to 140 km (from 53 ° 40 "to 55 ° 15" north latitude). It borders in the north with Nizhny Novgorod, in the east - with Ulyanovsk, in the south - with Penza, in the west - with Ryazan regions and in the northeast - with Chuvashia (see diagram No. 2).

The republic is divided into 22 administrative regions. There are seven cities on its territory: Saransk, Ruzaevka, Kovylkino - republican subordination, Ardatov, Insar, Krasnoslobodsk, Temnikov - district. The capital of the republic is the city of Saransk (317 thousand people), located 600 km from Moscow. The settlement system in Mordovia initially had a dispersed character due to the landscape and historical features of the territory. This is due to the inclusion of Russians and Tatars in the traditional settlement area of ​​the Mordovians (Erzi and Moksha), as well as the active participation of the Mordovians in the economic development of the territory of Russia. The modern spatial frame of settlement is characterized by polarization. More than 45% of the population is concentrated in a 30-kilometer zone around the administrative capital of Mordovia - Saransk. The bulk of the urban population is concentrated along the railway from Pichkryaev to the west to Ardatov to the east.

Well, now I would like to take a closer look at each of the regions separately:

1. Ardatovsky district

It was formed on July 16, 1928. The area is 1192.5 km2. Population 30.7 thousand people (2005). Center - Ardatov. There are 28 village administrations. It is located in the northeast of the Republic of Moldova. In its northern and southern regions there are landscapes of forest-steppes, in the center - mixed forests. The main population is Erzya.

2. Atyuryevsky district

Formed on May 10, 1937. Area 827.1 km2. Population 11.7 thousand people (2005). Center - with. Atyurievo. As part of 13 rural administrations. Located in the west of the Republic of Moldova. Forest-steppes are common in its eastern part, landscapes of mixed forests are common in its western part. The main population is Moksha.

3. Atyashevsky district

It was formed on July 16, 1928. The area is 1095.8 km2. Population 21.8 thousand people. (2005). The center is the urban-type settlement of Atyashevo. It consists of 21 rural administrations. It is located in the east of the Republic of Moldova in the forest-steppe landscapes of the northwestern part of the Volga Upland. The main population is Erzya.

4. Bolshebereznikovsky district

It was formed on January 26, 1935. The area is 957.7 km2. Population 15.2 thousand people (2005). Center - with. Big Berezniki. It consists of 16 rural administrations. Located in the south-east of the Republic of Moldova in the forest-steppe landscapes of the Volga Upland. The main population is Erzya and Russians.

5. Bolsheignatovsky district

It was formed on January 10, 1930. The area is 834.2 km2. Population 9219 (2005). Center - with. Big Ignatovo. As part of 13 rural administrations. It is located in the north-east of the Republic of Moldova in forest-steppe landscapes. The main population is Erzya.

6. Dubensky district

It was formed on July 16, 1928. The area is 896.9 km2. Population 15661 people. (2005). Center - with. Oaks. It consists of 16 rural administrations. Located in the east of the Republic of Moldova. The relief is erosion-denudation, in the south and south-east - the valley of the Sura River. The main population is Erzya.

7. Elnikovsky district

It was formed on January 25, 1935. The area is 1056 km2. Population 12.9 thousand people. (2005). Center - with. Elniki. It consists of 16 rural administrations. It is located in the north of the Republic of Moldova in landscapes of mixed forests, in the southwestern part - the valley of the Moksha River. The main population is Russian.

8. Zubovo-Polyansky district

It was formed on July 16, 1928. The area is 2709.43 km2. Population 64.2 thousand people. (2005). The center is the working settlement of Zubova Polyana. As part of 27 rural administrations. Located in the southwest of the Republic of Moldova. Landscapes of mixed forests of water-glacial plains predominate. The main population is Moksha.

9. Insari district.

Formed on July 16, 1928. Area 968.6 km2. Population 15.2 thousand people (2005). The share of the urban population is 56.7%. Center - Insar. As part of 15 rural administrations. Located in the south of the Republic of Moldova. Most of it is located in the forest-steppe landscapes of the Volga Upland. The main population is Moksha and Russians.

10. Ichalkovsky district.

Formed on January 10, 1930. Area 1265.8 km2. Population 22.2 thousand people. (2005). Center - with. Keml. It consists of 21 rural administrations. It is located in the north-west of the Republic of Moldova, mainly in forest-steppe landscapes. The main population is Russian.

11. Kadoshkinsky district.

Formed in 1935. Abolished in 1963, restored in 1991. Area 0.6 thousand km2. Population 9 thousand people. (2005). The center is the urban-type settlement of Kadoshkino. It consists of 1 settlement and 11 rural administrations. Located in the center of the Republic of Moldova, in the northern forest-steppe of the Volga Upland. The main population is Moksha and Russians.

12. Kovylkinsky ration.

Formed on July 16, 1928. Since 2000 - MO. Area 2012.8 km2. Population 24.4 thousand people. (2005). Center - Kovylkino. It consists of 1 city and 36 rural administrations. Located in the south of the Republic of Moldova. The western part is located in the forest-steppe, the eastern - forest landscapes. The main population is Russian.

13. Kochkurovsky district.

It was formed on July 16, 1928. The area is 816.5 km2. Population 11.4 thousand people (2005). Center - with. Kochkurovo. As part of 13 rural administrations. It is located in the southeast of the Republic of Moldova. Forest-steppe landscapes predominate, in the southeast - the Sura valley. The main population is Erzya.

14. Krasnoslobodsky district

It was formed on July 16, 1928. The area is 1.4 thousand km2. Population 28.1 thousand people (2005). Center - Krasnoslobodsk. It consists of 22 rural administrations. Located in the northwest of the Republic of Moldova. In its western part there are forest-steppe, eastern - forest landscapes. The main population is Russian.

15. Lyambirsky district

Formed on July 20, 1933. Area 880.1 km2. Population 33.5 thousand people. (2005). Center - with. Lambir. It consists of 16 rural administrations. Located in the center of the Republic of Moldova, in the forest-steppe landscapes. The main population is Tatars.

16. Ruzaevsky district

Formed on July 16, 1928. Since 2000 - MO. The area is 1.1 thousand km2. Population 67.8 thousand people. (2005). Center - Ruzaevka. As part of 21 rural administrations. Located in the center of the Republic of Moldova, in the forest-steppe landscapes. The main population is Russian.

17. Romodanovsky district

It was formed on April 16, 1928. The area is 820.8 km2. Population 21.6 thousand people (2005). The center is the urban-type settlement of Romodanovo. It consists of 17 rural administrations. Located in the central part of the Republic of Moldova in forest-steppe landscapes. The main population is Erzya and Russians.

18. Staroshaigovsky district

It was formed on July 16, 1928. The area is 1419.4 km2. Population 15.1 thousand people (2005). Center - with. Old Shaigovo. As part of 27 rural administrations. Located in the west of the Republic of Moldova. In its eastern part, forest-steppe prevails, and in the western part - landscapes of mixed forests. The main population is Moksha.

19. Temnikovsky district

It was formed on July 16, 1928. The area is 1.9 thousand km2. Population 19.8 thousand people. (2005). Center - Temnikov. It consists of 23 rural administrations. It is located in the northwest of the Republic of Moldova. In its northern part - landscapes of mixed forests, in the southern part - forest-steppe. The main population is Russians and Moksha.

20. Tengushevsky district

It was formed on July 16, 1928. The area is 845.2 km2. Population 13.7 thousand people. (2005). Center - with. Tengushevo. As part of 15 rural administrations. It is located in the northwest of the Republic of Moldova. In its northern and southern parts there are landscapes of mixed forests, in the central part - the Moksha valley. The main population is Erzya and Russians.

21. Torbeevsky district

It was formed on July 16, 1928. The area is 1129 km2. Population 22.6 thousand people. (2005). The center is the urban-type settlement of Torbeevo. It consists of 19 rural and 1 settlement administrations. Located in the southwest of the Republic of Moldova in the forest-steppe landscapes. The main population is Russian.

22. Chamzinsky district

It was formed on July 16, 1928. The area is 1009.5 km2. Population 33.3 thousand people. (2005). The center is the urban-type settlement of Chamzinka. It consists of 2 settlement and 13 rural administrations. Located in the southeast of the Republic of Moldova in the forest-steppe landscapes. The main population is Russian and Erzya.

2. Genre classification of Erzya folk songs

Musical culture is an integral part of every people who have distinctive features that are characteristic only of their language group, related to a particular habitat, be it Karelians, Finns, Estonians, Udmurts, Mari, Tatars, Chuvashs, etc. Mordva - Erzya and Mordva - Moksha is no exception. Located on the banks of the rivers Moksha, Insara and Sura, Mordovia is rich in many rituals and customs, overflowing with an abundance of national instrumental music. As in all other cultures, Mordovian-Erzi songs are divided into genres. Boyarkin N.I. dealt with this issue in Mordovia. In his collection “Monuments of the Mordovian Native Musical Art”, Volume 3, he presents to our attention such a genre classification of Erzya songs:

1. Sokitsyan-vidityan morot (songs of plowmen and sowers - calendar songs)

Kolyadan morot (carols)

Mastyan Morot (Shrovetide)

Tundon morot (spring songs)

Pizemen seeremat (rain cries)

2. Semiyaso eryamo moro da avarkshnemat (songs of family life and laments)

Wedding morot (wedding songs)

Kuloz lomande laishemat (lamentation for the dead)

Svadban leishemat (wedding laments)

Recrutto avarkshnemat (cry for recruits)

3. Liyatne Morot (other songs)

Lavsen Morot (lullaby songs)

Tyakan nalksemat morot (children's play songs)

Kuzhon Morot (circular songs)

Kill Morot (long songs)

And now I would like to go through all these genres separately. In the second section, everything is very clearly formulated, and it is quite possible to agree with this interpretation. But in the first section, I think that there are not enough songs of the Christmas house and songs of the harvest, they should be placed in the genre table as separate items, because these songs are not isolated and are also of great interest to folklorists. As for the third point, there are many controversial issues here. First, what are the other songs? Doesn't this group deserve a more accurate name? Well, at least for example, not dated, as in Russian folklore. Secondly, this group is too small and does not give a complete picture of all the "other" songs. Erzi has a lot of songs that tell about the difficult female fate (about marrying a baby, about the difficult burden that fell on the shoulders of the daughter-in-law, etc.), about historical events (about the structure of the city of Kazan, about Stepan Razin, etc. .).

Thus, I would like to slightly expand this genre table for a more accurate idea of ​​all types of songs that exist on the territory of the Republic of Moldova.

Now I would like to take a deeper look at one of the subgroups of calendar songs - spring songs. I chose it because here I also have controversial issues.

Among the spring songs, Professor of Moscow State University. N. P. Ogareva Nikolai Ivanovich Boyarkin, distinguishes: Mastyan morot, Tundon redyamat morot and Pozyarat.

Mastyan Morot (Shrovetide songs) - usually sung by children. They are similar to the tunes of tyakan nalksema morot (children's play songs). They were performed by groups in the tradition of heterophony, close to monody.

Example #1

With. Old Vechkanovo Isaklinsky District

Kuibyshev region

1. Give give give give pachalkse Give give give damn

Give pachalksen pelkske Give me a piece of pancake!

2. Chikor - lakor ezem chire Chikor - lakor end of the shop

Chikor - ezem bruce Chikor - bar shop!

Example #2

With. Stary Baitermish, Klyavlinsky district

Kuibyshev region

1. Suit chi, paro chi! Shrovetide day, good day!

Saik saik yakshamont! Take it, take it cold!

2. Saik saik yakshamont! Take it, take it cold!

Panic panic yakshamont! Drive away, drive away the cold!

3. Wai coat is good, Wai coat is worn out,

Wai hat kalads, Wai hat is worn out,

Wai Varginem Kalads, Wai mittens are worn out,

Wai kamnin kalads! Wai felt boots worn out!

In these examples, we see that these are either shouting or tongue-twisting songs. A poetic stanza usually consists of 2x six - seven-syllable stanzas and is intoned in the ambitus of a second, a third, and less often a quart. In a melostrophe of a 2-part form, the parts are either contrasting (AB - example No. 1), or built according to a typical formula (AA1A2A3 ... - example No. 2). The plot of these songs is usually simple. The songs ask for: pancakes, which symbolize the sun, or for Shrovetide to take the cold with it. Since Shrovetide songs are very similar to children's play songs, they sometimes use words that are not related to each other and words that do not make sense. (example No. 1 verse 2. Chikor - Lakor can be compared with the Russian expression tritatushki tritata, and the words - the end of the shop, the shop, the bar, are its complement). Thus, a meaningless set of words is obtained.

The next group of songs is Moro Tundon redyamat (song of spring signs). In terms of melody, these songs are more diverse than Mastyan Morot, and they were already sung by the older generation in two, three, or even several voices.

This is a more measured song, sung at a moderate tempo in Dorian h-moll. It contains jumps on uv4, ch5. The upper voice here conceives and is the leader, and the lower one performs a supporting function, although it also does not always stand still. The range of the song is not great: within the limits of a major sixth. The architecture is unbalanced. There are also characteristic unisons in the middle and at the end of the song. Basically, the songs will take the spring have a question-answer form.

And finally, the last subgroup of songs, which is still performed to this day and causes some controversy among folklorists - pozyarki or pozyarami.

In my opinion, it would be wrong to call this group that way (classification by N.I. Boyarkin). He gives his name by a frequently repeated meaningless word, despite the fact that there are songs with the same word related to another season.

Here is some of them:

A pozjara pozya

With. Staraya Yaksarka, Shemysheysky District, Penza Region .

And pozyar pozyar! And pozyar pozyar!

For the threshing floor wheat! For the threshing floor wheat!

Who's walking along the edge? - Who reaps it?

Linda is walking along the edge. - Lida is reaping it.

Who is following her? - Who is behind her?

Peter follows her. Peter is behind her.

And pozyar pozyar!

For the threshing floor wheat!

Who knits sheaves?

Lida knits sheaves.

Who is stacking the sheaves?

Peter stacks the sheaves.

A pozjara pozya

Kameshkirsky district

And pozyara pozyara pozyara

Behind the threshing floor wheat, wheat.

Who reaps her, her?

Avdotya reaps her, her.

Who walks along the edge, along the edge?

Peter walks along the edge, along the edge.

Oh Avdotyushka, God help me, God help me.

Oh dear, thank you, thank you.

If you want to take "me", then take it, take it.

If you want to leave, then leave, leave!

These two songs clearly refer to the harvest period, and are in no way spring songs, although they are called pozyarki. Therefore, to be more accurate in the title, these songs should be called Tundon Pozyarat ( Spring Pozarks).

Now, again referring to the works of N.I. Boyarkin, we can find that pozyarki stand out to him as reprimand songs. We can meet the same definition in L.B. Boyarkina: calling them scorching, we thereby emphasize their ancient function, thematic circle, confinement to the season - this is the whole explanation and no further evidence follows.

Having examined the texts of the pozyarok, we will see that their plot clearly does not belong to the group of slanderous songs, but, on the contrary, sings of a spring day (the red sun, warming the earth and awakening all living things, is shown in the form of an egg yolk; the singing of a nightingale, which is an invariable herald of spring and etc.).

Speaking about the musical analysis of these songs, it can be noted that they are very similar to Tundon redyamat morot (songs will take spring) in the interval composition and relationships that arise within the work. Pozyarki are musically built according to a typical formula with minor improvisational changes. Their distinguishing feature from all other songs lies in the fact that at the beginning of each stanza the same meaningless word-pozyara is repeated, and unisons do not always appear at the end, which is not typical for Erzya musical folk art.

And concluding, I would like to say that when considering the genre table of different peoples, you should not blindly believe everything that is made in them. You should get acquainted with the works characteristic of the people under study, and only after that look at the genre classification, which is presented to the public.

3. The originality of Erzya and Moksha songs

Many books and scientific articles have been written about the differences between Mordovian-Erzi and Mordovian-Moksha. Unfortunately, Erzya and Moksha songs are not mentioned anywhere among the differences. If the song is sung in Moksha, then it is Moksha, if the song is sung in Erzya, then it is Erzya. In books, the most that can be found are the main signs Mordovian song in general, without specifying nationality. A lot of scientific articles are devoted to the analysis of differences Mordovian song and Russian Mordovian song and Tatar Mordovian song and Udmurt, etc.

Really, besides the differences in language, in costume, in rituals, in the customs of the Erzya and Moksha, there are no specifically different features in the songs?

Consider two spring songs at once: the first is Moksha, the second is Erzya. In the Moksha song, there is mainly a sharp sound due to parallel seconds, on which the work is deliberately built. In the Erzya song, everything is again much simpler: although there are second ratios, they are heard very melodicly throughout the song, not standing out from the general mass of sound.

I can continue to give examples of Erzya and Moksha songs, but it seems that I am already ready to answer the question asked earlier. I have considered all the works included in the collection of Mordovian songs by Suraev-Korolev, and what happens? It turns out that Erzya songs are much simpler in sound than Moksha ones. Their texture is more transparent and without sharp harmonies. While the Mokshans are admiring the unexpected chords and the density of sound, the Erzyans at this time enjoy the stretching of empty intervals and free texture. And now I can say for sure that it is still possible to distinguish an Erzya song from a Moksha song by ear, without listening to the words and not knowing the genre.

4. Existence of Russian song in Mordovian villages

Until recently, the Russian folklore of Mordovia attracted the attention of scientists mainly in connection with the study of Russian-Mordovian folklore relations, which have been the subject of consideration since the 19th century. A.V. devoted a special work to the analysis of Russian-Mordovian relations in history and in the field of folk poetry. Markov. He noted that there is much in common in Russian and Mordovian folklore, but he explained the emergence of this commonality either only by the influence of Russian folklore on Mordovian, or Mordovian on Russian, while commonality and similarity can also be due to historical and genetic factors.

The coexistence of national and Russian songs in the oral repertoire of the Mordovian people is perceived as a common phenomenon. The Russian song is often performed after the Mordovian one and vice versa. We can say that those and other songs in a number of villages are recognized as their own - national, and the performers do not divide them into Mordovian and Russian. For example, the grandmothers who sang songs to me often assured me that the song they performed was Mordovian, when in fact it was Russian. The frequent performance of Russian songs has developed a habit among Mordovian performers to feel them as their own, especially since, having been with Mordovians for a long time, samples of Russian folklore often changed in form and language, acquired Erzya and Moksha words and even whole expressions.

We can continue to talk about the fact that more and more Mordovian songs are Russian, because after reviewing a huge amount of material on this topic, it turned out that many folklorists of Mordovia were dealing with this issue: L.B. Boyarkina, S.G. Mordasova, T.I. Volostnov, etc., not to mention the Russians.

All of them in their writings write about the positive aspects and qualities of borrowing Russian songs from the Mordovians. I look at it somewhat less optimistically and enthusiastically.

Our ancient Mordovian culture is losing its "I" under the onslaught of Russian folk art.

Starting to consider the question of the existence of the Russian song in the villages, I do not want to repeat myself after other researchers of folklore, because even without me too much has been written about this, I just want to say about the tragedy that will certainly follow all this:

We - Mordvins - Moksha and Mordvins - Erzya, being part of the Finno-Ugric people, are at risk of extinction of the national consciousness. Soon, not a single Mordovian song will remain in the repertoire of our village grandmothers - hence the extinction of the native language and the disappearance of Mordovian identity will follow.

If in our time it is difficult for grandmothers to remember Mordovian songs, then what will happen in the future ...

Conclusion

At present, the enormous role of folk music in the art of each country has long been recognized. Folk creativity found its most vivid and complete expression not in purely instrumental music, but in the combination of melody with the word - in the song. The song, having originated in the most primitive form many millennia ago, has steadily developed and evolved in close connection with the development of the culture of the people themselves, their way of life, language, thinking, which are reflected both in the lyrics and in the tunes. Collection of folk songs, the main result of the thousand-year history of most peoples.

Let's carefully protect our heritage and take care of its survival. Preserve the treasures of folk musical culture, make them available to the broad masses of the people, professional and amateur performing groups, provide additional material for the work of composers, as well as for students and students of special educational institutions.

I hope that this work will make you think and analyze the whole situation that arose at the turn of the 2nd century and continues to this day.

Literature

1. Ananicheva, T.M. Russian-Mordovian connections in ritual folklore / T.M. Ananichev // Typology and interrelationships of the folklore of the peoples of the USSR. -M., 1980. - S. 282-298

2. Boyarkina, L.B. Calendar and circular songs of the Erzya settlers of the Middle Trans-Volga region (genres, functions, musical and stylistic features). - In the book: Folklore and folklorism. / Comp. NOT. Bulychev. - Saransk: publishing house of Mordov. un-ta, 2003. - S. 79-103.

3. Bulycheva, N.E. Folklore and folklorism of the period of formation of professional traditions (on the material of Mordovian music). / NOT. Bulychev. - Saransk: publishing house of Mordov. un-ta, 2003. - 240p.

4. Volostnova, T.I. Russian folklore in the multicultural space of Mordovia: author. diss. for the competition scientist degree cand. ist. Sciences / T.I. Volostnov. -Saransk, 2006. - 18s.

5. Everything about Mordovia. - Saransk: Mordov. book. publishing house, 1997. S. 264-268.

6. Markov, A.V. Relations between Russians and Mordovians in history and in the field of folk poetry: in connection with the question of the origin of the Great Russian tribe. / A.V. Markov. - Izv. Tiflis. higher female courses. - 1914. - Issue. 1. - Prince. 1. - S. 40-43.

7. Mordasova S.G. Traditional culture of Russians in the Republic of Mordovia and their life support system: author. thesis ... Ph.D. / S.G. Mordasova. - Saransk, 2004.

8. Mordovia, encyclopedia in 2 volumes. T. 2. Saransk: Mordov. book. publishing house, 2004. 564. p.

9. Mordovian folk songs. - M .: State. music publishing house, 1957. 164p.

10. Monuments of Mordovian folk musical art. T. 3. - Saransk: Mordov. book. publishing house, 1988. 337. p.

Application

1. Location map of the Republic of Mordovia

2. The layout of the regions bordering the Republic of Mordovia

Mordovian men often played musical instruments. Not a single holiday, not a single action took place without musicians and playing instruments. These are: garze (m), kaiga (e) (violin); fam, ufam (m), puvama (e) (bagpipe); nude (m), nude (e) (type of double clarinet). The Mordovian people believed that the most fervent, cheerful and cheerful people are musicians, as evidenced by numerous songs and fairy tales. For example, in the Russian folk song "Kalinka-Malinka", recorded by A.S. Pushkin in 1830 says:

I do not need, mother,

No honey, no sugar

No sweet apples

No honey gingerbread;

Bring me, mother

Tatar with a violin

Mordvina with bagpipes,

Single with pipes.

"Merry Hill" by M. Volkov - hearing. The play in its intonation is based on the tunes of the Moksha violin tune “Parkhtsi paly” (“Silk shines”).

The teacher offers to pick up a rhythmic accompaniment to the piece.

^ Musical repertoire

Calcaemat. N. Boyarkin - hearing.

Zerezenkay (Moksha tune) - listening.

Merry slide (fr-t). M. Volkov - rhythm.

^

Topic: “The holiday “Roshtuvan kud”

One of the brightest winter holidays among the Mordovians was the Roshtuva (Christmas) holiday, which was not associated with Christian Christmas, but was dedicated to the spirits - the patrons of domestic animals, birds, bees and revered trees. It fell just on the day of the winter solstice - December 25th.

In the songs that were performed at the holiday "Roshtuva" (Christmas), the word "Kolyada" is found. No one can describe Kolyada, because no one has ever seen it. They only know that she comes to the Christmas holiday and brings people wealth, happiness, health. People composed many songs - “carols”, special laudatory and congratulatory songs, in which they asked Kolyada to bring success and health to their families, increase the harvest, and more livestock. Carols were sung by shepherds, and children, and youth, when they walked through the yards and brought joy and celebration. With their songs, carolers invited satiety and wealth into the house.

The holiday "Roshtuvan Kud" ("Christmas House") was one of the main agricultural holidays, glorifying fertility and abundance in the new year. The more people flocked to the "Christmas House", which was filmed for the entire period of the celebration (from 10 to 14 nights, starting from the night of December 24 to 25), the stronger the good wishes were. And it was also necessary to come neatly and smartly dressed.

The holiday began with songs in which patron spirits were addressed to help increase the number of domestic animals and help grow a rich harvest. The first night was dedicated to the patron saint of pigs, so pork was always served, and a boiled pig's head was offered to the most respected people. The pig was considered sacred, embodying the fertility of the earth.

While the ritual meal of the elderly lasted while singing songs, the youth were engaged in guessing riddles:

After dinner and riddles, the tables were cleared. All those present were divided into 2 groups: the first - "shtuvan kudon kshtiikht" (dancers of the Christmas house) and the second - "shtuva kudon vanykht" (spectators of the Christmas house). The dancers were held in special esteem - their parents felt sorry for them and did not live, they fed them better and did not load them with work during the Christmas holidays.

One of the most favorite games at the holiday was the game "Ofton kshtima". The guy dressed up as a “bear”: for this he was dressed in a fur coat turned inside out, felt boots on his hands and feet, his face was stained with soot, his eyes were blindfolded. At the same time, they were forced to dance. “The bear stomped, stomped on the spot, jumped clumsily, rolled over from one foot to the other.” The task of the "bear" is to catch one of the dancers in order to transfer his role to him. If he caught a girl, then a familiar guy rescued her.

^ Musical repertoire

Roshtuva kudon teter (Christmas house girl). N. Boyarkin - hearing.

(E) Kalyada, Kalyada! (Kolyada) - singing.

(M) Ay, kalyada, kalyada (Ay, carol, carol) - singing.

Kalyadamo (Kolyadka). N. Boyarkin - hearing.

Kishtima roshtuvan kudoso (Dance in the Christmas house). N. Boyarkin - rhythm.

^

Theme: “Winter gatherings”

When winter-winter came with snowstorms, snowstorms and frosts, the favorite pastime of the Mordovians in free long evenings was winter gatherings. They gathered in a clean, spacious hut, lit a torch that burned and crackled merrily, sang songs, danced, competed in the performance of perky and mischievous ditties. They loved to compose and tell fairy tales about good and evil rich people, about animals, fairy tales and everyday life. The protagonists of fairy tales were the pagan deities of the Mordovians - Viryava (patron, mistress and mother of the forest), Vedyava (patron, mistress and mother of water), Purginepaz (god of thunder), Nishkepaz (god of bees), Paksyava (patron, hostess and mother fields), as well as positive heroes (heroes) and negative ones (snakes, witches, an evil king).

Men were engaged in woodcarving, famous for their skill. Their hands made wooden cups (noodles (m), wakan (e)), spoons, mugs, ladles, ladles (kechene (m), kolgan (e)), salt shakers (saldorks (m)), spoon boxes (for storing spoons) in the form of a silhouette of a bird floating on the water, or a duck. A salt shaker with such an image was processed especially carefully, because. had a symbolic meaning - profit to the house. A dugout tub - par - was intended for dowry. It was decorated with an ornament consisting of geometric figures, crests, imitations of Mordovian ancient ornaments.

Singing songs, the girls spun yarn, they were famous for their skill in embroidery. Linen items were the main part of the bride's dowry. From the age of six, girls, under the supervision of their mother, began to weave and embroider. During the long autumn and winter evenings, the girl had time to prepare from 35 to 50 women's shirts, tablecloths, and towels for the wedding. (Show a reproduction of the painting by I. Sidelnikov "Mordovian embroiderers. Dowry").

At the wedding, the prepared things were exhibited for inspection, and they judged the skill and skill of the girl.

In the song "Roman Aksyas" ("Romanova Aksinya"), not only the girl's skill, her diligence, dexterity, but also her beauty are noted. Here the ideal of a girl is shown - the harmony of the external and internal world. Many demands were placed on the bride-girl. Preference was given to a beautiful, strong build, with a cheerful character, hardworking and accurate. They also looked at the wealth of the family and the behavior of the parents. They said:

The ideal of a beauty: black eyes, like "bird cherry color", rosy cheeks, slender, with good long hair, with hardy. strong legs. The gait should be firm, sweeping, similar to the "gait of a foal."

Attention was also drawn to how the dandy was dressed: her legs were wrapped first with linen, then with bleached woolen canvas; up to 12 scarves hung behind the belt; on the neck and arms - jewelry; 6 or 8 stripes are embroidered on the dress. (Show reproductions of paintings by Mordovian artists).

The entire costume was decorated with rich patterns. (Show reproductions of the costume and jewelry, name the details of the costume.) Pay attention to this moment: the more embroidered stripes on the dress, the more industrious and beautiful the girl was considered. And this was a very laborious work: in women's festive shirts, the forearms, sleeves, armpits, etc. were decorated with embroidery. Almost the entire costume was made by the hands of the girl, and her industriousness, perseverance, neatness, and patience were judged by her clothes.

Mordovian women were very fond of various jewelry made of beads, beads, chains, coins, bells, bells. And during the festive dances, all these ringing decorations served as the musical accompaniment of the dance. There was even such a proverb: “You will first hear a Mordovka, and then you will see it.”

^ Musical repertoire

(M) Roman Aksyas (Romanova Aksinya) – hearing.

Spinner. N. Boyarkin - hearing.

Snowman. Muses. Gene. Suraeva-Queen, Art. G. Belozerova - singing.

Yalgan kshtimat. The dance is gone. Yalgan kishtemat. N. Kosheleva - rhythm.

(Tat.n.p.) Shoma bass - singing.

III quarter
^

Theme: “We meet spring”

In this quarter, children continue to get acquainted with the traditions and rituals of the Russian and Mordovian peoples dedicated to the meeting of spring.

Many songs, riddles, proverbs among the Mordovians were dedicated to spring, the sun, and birds.

Acquaintance of children with the Erzya song “A sezya, sezyaka” (“Forty, forty”). This song was performed at the festival, which was called very affectionately - Maslenitsa. She was asked for contentment, abundance, health. Her assistant was the Sun, the almighty, reviving all living things. What had to be done to show that he was respected and hoped for? People baked butter pancakes, burned circular bonfires, danced round dances.

Birds brought spring on their wings - our ancestors thought so. And they created nicknames that “called” early birds home. March 22 is the day of the spring equinox. On this day, spring was called for the second time. And when the lawns were a little free of snow, the Mordovian youth was going to play. Participants were divided into 2 groups, both of which portrayed flocks of larks. At first, the flocks “flyed” in a circle (in pairs), depicting the children of birds, circled, waved their “wings”, and rested. At the sign of the leader, who imitated the singing of a bird (or played the whistle), the birds “flyed up” again. Unexpectedly, the flocks met, joyfully greeted "friends" and went on a "vacation" together. During the "rest" larks competed in dancing, singing songs, etc. (according to N.I. Boyarkin).

In the spring, from Shrovetide to Easter (for 7 weeks), spring songs (pozyarat) were sung in Mordovian villages. Once these songs were dedicated to the Mordovian patroness Viryava - the goddess of water, childbirth and fertility. The girls came to the river bank and sang songs. When performing these songs, the singers believed that the best singing is strong, loud singing. Mordovian singers were distinguished by very emotional, strong singing. The main role was played by the singer, who led the main voice; the rest listened to her and led their own melody.

Mordovians have long enjoyed special respect for willow. Willow was the first to report that nature would soon come to life, warmth would come. According to legend, willow had the ability to give health, vitality to people and animals. Palm buds were considered healing. They were given to chew for toothache and fever. Therefore, the Mordovians had a rite of "lashing with a willow." On March 21, “the willow was silvering”, and from March 21 to March 28 there was palm week. The rite was performed on Palm Sunday and was associated with the patroness of the spring wind and the mother of the willow - Varmava. The day before, on Saturday, Varmava was asked “to keep the girls healthy, keep them from notoriety, bread would be born, cattle would multiply.” In the evening they gathered for a walk, invited married guests ... First they were treated, and then they were “chased” through the ranks: girls and boys stood in a row, whipped each guest with willow branches, wished them health and family happiness with laughter and cries.

Early on Sunday morning, when the sun was just rising and the first rays gilded the roofs of houses, young people went around the houses in groups and whipped sleeping children with willow branches. While singing:

They whipped willow and cattle to keep them healthy. Whipped and sentenced (poems for improvisation):

The game "Verban whip".

Children stand in a circle. The host runs with a willow in his hands and touches the children. Children at this moment should jump: whoever does not have time to jump, he drives.

In order for the beautiful Spring to enter the Mordovian region as a full-fledged mistress, the youth went to the river bank, sang songs, had fun, praised Varmava (the patroness of the wind):

There were also round dances. Round dances are the oldest entertainment among different peoples. They were led when the song, dance and game were not yet separated. Mordva, like many other peoples, especially revered and loved the Sun. To appease the patron of the Sun, to show their admiration and love, people stood in a circle symbolizing the sun. People hoped that the good forces of nature would hear them and help in their affairs.

^ Musical repertoire

Ducks are flying. M. Volkov - hearing.

(E) And sezyaka, sezyaka (Forty, forty) - singing.

(E) Mastyan chi, paro chi (Pancake day, good day) - singing.

About mom. Muses. N. Mitina, Art. A. Gromykhina - singing.

(E) Pozyara. arr. N. Boyarkina - rhythm.

(Tat.n.p.) Ak Kalach (White Kalach) - listening.

^

Topic: “Journey to musical theater”

In Saransk there is a musical theater named after. I. Yaushev, on the stage of which you can see opera performances, operettas, ballet. The children can be explained as follows: “If speech, movement, gesture are combined with singing, then this is a musical stage work. In it, the artists sing more than they talk. And in the case when they sing everything that they could say, it turns out to be an opera. It is composed by the composer based on the playwright's play. If the artists do not speak at all, do not sing, but express everything that needs to be said in movement, gestures and dance, then this is ballet. It is composed by a composer and choreographer. Each type of performing arts has its own types of theater: drama, opera and ballet theater, musical comedy theater ”(N.M. Sitnikova).

Illarion Maksimovich Yaushev - Honored Art Worker of Russia and People's Artist of Mordovia, a talented singer, bass. In his performance, Mordovian folk songs sounded emotionally, with love in different parts of Russia. He created the image of the prince-voivode Archilov in the first Mordovian performance - the musical drama "Litova".

Litova is a Mordovian girl, she is also Alena Arzamasskaya, who came to the Mordovian lands from Arzamas. She is Alena Temnikovskaya, who led the popular uprising in Temnikovo. Lithuania came from Stenka Razin with a "golden letter", in which the peasant ataman urged everyone to stand up against the rich oppressors.

The play "Litova" was written by the Mordovian poet P.S. Kirillov, and the music was composed by L.P. Kiryukov. The premiere of the musical performance took place on May 27, 1943 at the Saransk Opera and Ballet Theatre. The Great Patriotic War was going on, and the theater with its performances helped people find hope in an early victory.

^ Musical repertoire

Aria of Litova from the opera “Litova” by L.P. Kiryukov (in Spanish R. Bespalova) - hearing.

Trolleybus. G.G. Vdovin, Art. E. Ruzhentseva - singing.

Pek vadrya (composition of the group “Pek vadrya”) – rhythmics.

^ IV quarter

Theme: "Birch-beauty"

Birch is one of the most beloved trees of Mordovians. The birch was considered a sacred tree, they glorified it in their songs.

“Luganyasya kelunya” (“In the meadow of a birch tree”) - singing. Showing and learning dance moves.

May is the time of flowering, grass growth, bright sun. And these days, filled with light, smells and warmth, the holiday "Troytsyan chi" ("Feast of the Trinity") was held. At first they went into the forest for the “Trinity tree” - a young birch, tore armfuls of flowers, young maple or birch branches. All this was necessary to decorate the home: flowers and grass were laid on the floor, windows were decorated with branches. By noon, the families went to the field, where they sang songs and asked nature to help grow a good harvest. At the same time, eggs were thrown up. Whoever throws higher should have a richer harvest. Around the "Trinity tree" they danced, sang and danced.

^ Musical repertoire

Kuzhon Morot (Round dance). N. Boyarkin - hearing.

Luganyasa kelunya (Birch in the meadow) - singing.

(E) Kavto cerat tikshe ladyit (Two guys mow the grass) - singing.

Sunny Bunnies. Muses. Gene. Suraev-Korolev, Art. A. Gromykhina - singing.

Birch in the meadow. arr. A. Putushkin - rhythm.

(Tat.n.p.) Urmekuch (Spider) - rhythm.

^

Theme: "Summer to visit us"

When summer came to the Mordovian land, the children enjoyed sunny days, a warm river, and a tan. We gladly went to the forest for berries, mushrooms, sorrel and wild onions. They ran through the streets and called for a warm and quiet rain. They loved to cultivate peas, sunflowers, feed chickens, goslings, guard and graze them.

In the summer, Mordovian children made toys for themselves from wood, clay, pebbles, and plants. The girls made themselves rings and bracelets from water lily flowers. The boys made a whistle-flute from a willow rod (“veshkema” (e), “vyashkoma” (m)); weaved baskets for mushrooms and berries, bast shoes from lime bast.

Haymaking was a real holiday of summer. The whole family went to the meadows: the kids brought fresh water, the teenagers, together with the adults, mowed the grass, turned and raked the hay, put it in shocks. During the rest, Mordovian children started various games: “In the crow”, “In the cockerel”, “In the squirrels”, “Cats and mice”. In these games, a driver was chosen (“crow”, “wolf”, “cat”), who must catch the fleeing “chickens”, “squirrels”, “mice”.

During grazing, children, along with adults, competed in guessing and guessing riddles, performing nursery rhymes, ditties, and songs. On a summer night, songs were carried far around the district (according to the book “Folk Traditions of Raising Children among the Mordovians” by N.F. Belyaeva).
, singing.

Kindergarten. Muses. N. Mitina, Art. Tovarkova - singing.

Apple tree. arr. A. Putushkin - rhythm.

^

PREPARATORY GROUP

Singing

• 
  to continue to acquaint with Russian, Tatar folk songs, to form the skill of their performance;
• 
  continue to acquaint with Mordovian folk songs in the volume of the sixth, seventh with the structure m.3 + b.2 + b.2 + m.3; b.2 + m.3 + b.2 + b.2 of various genres: lyrical, epic, wedding songs, carols, etc., to form the skill of their performance;
• 
  continue to acquaint with the songs of the composers of Mordovia;

• 
  work on expressiveness, melodiousness of intonation, clarity of pronunciation of the text;
• 
  learn to sing on a support;
• 
  to learn to sing cleanly within fifths-septims;
• 
  to form the skill of "chain" breathing;
• 
  to form the skill of bourdon two-voice singing;
• 
  to form the skill of improvising figurative movements of characters, the skill of staging songs at your own discretion.