Ethnography musical |

Ethnography musical (from the Greek ethnos – the people and grapo – I write) – scientific. discipline, sacred the study of folk music. Known in different countries and in different. historical periods under the names: musical folklore, music. ethnology (in the countries of German and Slavic languages), compare. musicology (in a number of Western European countries), ethnomusicology (in the English-speaking, now also in the French-speaking tradition), and ethnomusicology (in the USSR). Initially, E. m. was a purely descriptive science, fixing specific. material of music of the oral tradition for theoretical. and historical research. In foreign European science of the 20th century, preim. Before the 2nd World War, general ethnography was subdivided into the homeland study of its people (German – Volkskunde; French – tradition populaire; English – folklore), which arose on the basis of the rise of the national liberation. movements in Europe at the beginning. 19th century; to compare the study of alien, usually extra-European, peoples (German – Völkerkunde; French – ethnologie; English – social anthropology), which developed in the middle. 19th century in connection with the colonial expansion of Europe. state-in. E. m. followed this division. In the French-speaking tradition, e. m. — ethnomusicology. In Germany, a direction appeared E. m., studying the so-called. prehistoric music, – Frühgeschichte der Musik (V. Viora).

In the past, many bourgeois scientists considered ethnomusicology as a science only about outside Europe. music cultures, there is now a trend towards an ethnically broader understanding of it.

Mn. specialists, and above all in the USSR, use the terms “E. m.”, “Music. folkloristics”, “ethnomusicology” as equivalent, based on the fact that E. m., like any science, undergoes decomp. stages, enjoys diff. technique and has diff. industry specialization. In the USSR, the term “muz. folkloristics”, at the same time, the term “ethnomusicology”, formed from the term “ethnomusicology”, introduced in 1950 by J. Kunst (Netherlands) and becoming widespread thanks to the Amer. practice.

E. m. is part of general musicology, but it is at the same time. associated with general ethnography, folklore, sociology. The subject of E. m. is traditional. household (and above all, folklore) music. culture. at different levels of society. Development she belonged to dec. role. It is significant that Nar. music creativity diff. tribes and peoples throughout their history, including the period of modern. social formations, characterized by ethnic. specifics. E. m. studies Nar. music at the same time, firstly, as a “language”, i.e., as a specific system. musical-expressive means, musical-linguistic structures, and secondly – as “speech”, that is, as specific. performing behavior. This explains the impossibility of accurate transmission of Nar. music in sheet music alone.

Production Recording nar. music is the most important area of ​​E. m. “The main and most reliable material for the history of Nar. music remain Nar. melodies recorded recently … Recording Nar. melody is not an automatic work: recording is at the same time revealing how the person who writes understands the structure of the melody, how he analyzes it … Theoretical. ideas and skills cannot but be reflected in the record” (K. V. Kvitka). Recording, fixing samples of folklore occurs ch. arr. in the form of expeditions. work among the rural and urban population. Musical, verbal, sound recording is carried out with its subsequent transcription-notation (decoding), data about the performers and the history (social, ethnic and cultural) of the settlement where these songs, dances, tunes exist are also recorded. In addition, the muses are measured, sketched and photographed. instruments are captured on film dances. When fixing ritual or game products. the corresponding rite and its participants are described in detail.

After recording, the material is systematized, its archival processing and card indexing in one or another accepted system (by individual expeditions, by settlements and regions, performers and performing groups, genres and plots, melodic types, modal and rhythmic forms, method and nature of performance). The result of the systematization is the creation of catalogs bearing analytical. nature and allowing processing on a computer. As a link between fixation, systematization and research of Nar. music are musical-ethnographic. publications – music anthologies, regional, genre or thematic. collections, monographs with detailed certification, comments, an expanded system of indexes, now with sound recordings. Ethnographic records are accompanied by commentaries, musical transcriptions, photo illustrations and a map of the respective region. Musical and ethnographic are also widespread. movies.

Music-ethnographic. studies, diverse in genres and purposes, include special. music analysis (musical system, modes, rhythm, form, etc.). They also apply the methods of related scientific. areas (folkloristics, ethnography, aesthetics, sociology, psychology, versification, linguistics, etc.), as well as methods of exact sciences (mathematics, statistics, acoustics) and mapping.

E. m. studies its subject according to written data (early musical notations, indirect literary evidence and descriptions of travelers, annals, chronicles, etc.), according to archaeological materials. excavations and preserved traditions. music tools, direct observations and expeditions. records. Fixing the music of the oral tradition in its nature. living environment is ch. material E. m. Modern. records make it possible to reconstruct the ancient styles of bunks. music.

The origins of E. м. associated with M. Montaigne (16th century), J. G. Russo and I. G. Herder (18th century). Background E. м. as a science goes back to the works of F. G. Fetisa et al. (19th century). The first published collections of Nar. songs, as a rule, were not pursued by scientific. goals. They were compiled by ethnographers, amateur local historians. Then to the material Nar. composers turned to creativity, striving not only to get acquainted with the music of their native, etc. peoples, but also to translate it into their products. Composers contributed means. contribution to the development of E. m., they not only processed bunks. songs, but also explored them: B. Bartok, 3. Kodály (Hungary), I. Kron (Finland), J. Tierso (France), D. Hristov (Bulgaria), R. Vaughan Williams (Great Britain). Most specialists of the 19-20 centuries. was primarily interested in native folklore: M. A. Balakirev, N. A. Rimsky-Korsakov, P. AND. Tchaikovsky A. TO. Lyadov and others. (Russia), O. Kolberg (Poland), F. Kuhach (Yugoslavia), S. Sharp (UK), B. Stoin (Bulgaria). A special place is occupied by the activity of L. Cuba (Czech Republic), who collected music. folklore pl. glory peoples. The beginning of the history of E. м. how sciences are usually attributed to the time of the invention of the phonograph (1877). In 1890 the music of Amer. Indians, in the 2nd floor. 1890s the first sound recordings were made in Europe (in Hungary and Russia). In 1884-85 A. J. Ellis found that peoples use scales unknown to Europeans, and proposed to measure the intervals between their steps in cents – hundredths of a tempered semitone. The largest phonogram archives were founded in Vienna and Berlin. On their basis, scientific. schools E. м. Since 1929 there has been an archive room. folklore in Bucharest (Archives de la folklore de la Société des Compositeurs roumains), since 1944 – Intern. archive et al. music in Geneva (Archives internationales de musique populaire au Musée d’ethnographie de Geníve; both created by an outstanding room. ice folklorist K. Brailoyu) and the Department of Ethnomusicology at the Museum of Art. arts and traditions in Paris (Département d’ethnomusicologie du Musée national des Arts et Traditions populaires). Since 1947 the Intern. council of people music at UNESCO – International Folk Music Council (IFMC), which has nat. committees in various countries of the world, publishing special. magazine “Journal of the IFMC” and publishing the yearbook “Yearbook of the IFMC” (since 1969), in the USA – the Society of Ethnomusicology, which publishes the journal. «Ethnomusicology». In Yugoslavia, the Union of Folklorists Society (Savez udruzenja folklorista Jugoslavije) was created in 1954. Work Archive about-va English. Nar Dance and Song (English Folk Dance and Song Society, London), Archives of the Museum of Man (Musée de l’Homme, Paris), Archives Nar. pesni Biblioteki kongresa (Archive of Folk song of the Library of Congress, Washington), Traditional Archive. Music at Indiana University (Indiana University Archives of Traditional Music) and Ethnomusicological. archive at the University of California, archives of others. amer. un-tov, archive of the Intern. in-ta compare. music studies (Archives of International Institute for comparative music studies and documentation, Zap. Berlin), etc. In the process of improving the modern methodology E. м. ethnocentrism and orientation to ethnically narrow material are overcome at the expense of broader historical comparisons. research. Methodist. searches are aimed at embracing music in its dynamic, historically developing art. specificity – a real performer. process. Modern technique E. м. applies a comprehensive and systematic approach to music. culture, which allows you to study Nar. music in its syncretic and synthetic. unity with others. folklore components. Modern E. м. considers folklore as art. communicative activity (K. Chistov – USSR; D. Shtokman – GDR; D. Ben-Amos – USA, etc.); main Attention is paid to the study of his performing being (ie. Mr. group songs E. Clusen – Germany; t. Mr. small groups of Ben-Amos; t. Mr. small social groups Sirovatki – Czechoslovakia). According to T. Todorova (NRB), namely orientation E. м. on the study of folklore as an art leads to the formation of E. м. how they are independent.

In the development of the pre-revolutionary A. N. Serov, V. F. Odoevsky, P. P. Sokalsky, Yu. N. Melgunov, A. L. Maslov, E. E. Lineva, S. F. Lyudkevich, F. M. Kolessa, Komitas, D. I. Arakishvili and others. Among prominent owls. V. M. Belyaev, V. S. Vinogradov, E. Ya. Vitolin, U. Gadzhibekov, E. V. Gippius, B. G. Erzakovich, A. V. Zataevich, and K. V. Kvitka, X. S. Kushnarev, L. S. Mukharinskaya, F. A. Rubtsov, X. T. Tampere, V. A. Uspensky, Ya. nar. music cultures.

In Russia, the collection and study of Nar. music creativity was concentrated in the Musical and Ethnographic Commission and ethnographic. department of Rus. Geographic about-va. After Oct. revolutions are created: ethnographic. section State. Institute of Music Sciences (1921, Moscow, functioned until 1931), Leningrad. phonogram archive (1927, since 1938 – at the Institute of Russian Literature of the Academy of Sciences of the USSR), office of the Nar. music at Moscow. Conservatory (1936), folklore section at the Institute of Technology, Music and Cinematography (1969, Leningrad), All-Union Commission of the people. music at the USSR Committee of the USSR, the commission of musicology and folklore of the RSFSR Committee of the USSR, etc.

In the beginning. 1920s B. V. Asafiev, who understood the music. intonation as specific. contain. a means of sound communication, advocated the study of nar. music art-va as a living creative. process. He called for the study of folklore “as the music of a specific social environment, constantly changing in its formations.” First means. E. V. Evald’s works (on the songs of Belarusian Polesie, 1934, 2nd ed. 1979) were the achievement of E. m. in this direction. Owls. E. m. develops on the basis of Marxist-Leninist methodology. Owls. music ethnographers have achieved means. success in studying local styles and arts. traditional systems. and modern nar. music, in the use of musical and folklore data as a source for studying the problems of ethnogenesis.

The development of modern E. m. as a science leads to the creation of a new theory of art. the integrity of the Nar. music and organic systemic people. music culture.

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