Orchestras of folk instruments |
Orchestras of folk instruments – Ensembles consisting of nat. music instruments in their original or reconstructed form. He. and. they are homogeneous in composition (for example, from the same domra, bandura, mandolin, etc.) and mixed (for example, a domra-balalaika orchestra). Organization principle O. n. and. depends on the characteristics of the music. the culture of this people. In the orchestras of peoples who do not know polyphony, the performance is heterophonic: each voice plays the same melody, and the participants can vary it. Ensembles of the bourdon type perform the melody and accompaniment (more precisely, the background): sustained notes, ostinato figures; such an ensemble can also be purely rhythmic. Orchestras of peoples, the music of which is based on harmonica. Basically, they perform the melody and accompaniment. Small ensembles were common among many. peoples since ancient times, being carriers of nar. instr. culture. They occupied a large place in everyday life (played at holidays, weddings, etc.). In instr. ensembles of the early stages of the development of society, music that has not yet become independent. art, associated with the word, singing, dance, action. For example, Brazilian Indians in a hunting dance to the sound of wooden pipes, pipes and drums depict wild boars and hunters (such actions are known among many peoples). In the music performed by Africans (Guinea), the peoples of India, Vietnam, and others, the melody and background (often rhythmic) are sometimes distinguished. Specific forms of polyphony are characteristic of the Pan flute ensemble (Solomon Islands), Indonesia. gamelan.
Many peoples have developed traditions. compositions instr. ensembles: in Russia – music. ensembles of horn players, kuvikla (kuvichki) performers; in Ukraine – trinity of music (violin, bass (bass), cymbals or tambourine; sometimes violin and bass; ensembles of trinity of music were popular until the middle of the 19th century), in Belarus – ensembles of violin, cymbals, tambourine or violin, cymbals , pity or dudy; in Moldova – taraf (clarinet, violin, cymbals, drum); in Uzbekistan and Tajikistan – mashoklya (surnay, kornay, nagora); in Transcaucasia and North. Caucasus 3 sustainable instr. ensembles – dudukchi (duduk duet), zurnachi (zurn duet, to which shares are often added), sazandari (tar, keman-cha, daf, as well as other compositions); in Lithuania – ensembles of skuduchiai and ragas, in Latvia – stabule and suomi dudy, in Estonia – rural chapels (for example, cannele, violin, harmonica).
In Russia, folk ensembles instruments have been known since the 12th century. (played at feasts, holidays, during funeral rites; accompanied by singing, dancing). Their composition is mixed (sniffles, tambourines, harp; horn, harp) or homogeneous (choirs of gooselytsiks, harps, etc.). In 1870, N. V. Kondratiev organized a choir of Vladimir horn players; in 1886, N. I. Beloborodov organized a chromatic orchestra. harmonica, in 1887 V. V. Andreev – “The Circle of Balalaika Lovers” (ensemble of 8 musicians), in 1896 transformed into the Great Russian Orchestra. These groups performed in the cities of Russia and abroad. Following the example of Andreev’s orchestra, amateur O. n. and. In 1902, G. Khotkevich, adding bandura and lyre players to the ensemble, created the first Ukrainian. He. and. In Lithuania in 1906 an ethnographic ensemble of ancient cancles. In cargo. folklore, where woks play a leading role. genres, instr. ensembles premier. accompanied by dancing and singing. In 1888 the first cargo was organized. nat. orchestra. In Armenia, folk ensembles Instruments have existed since BC. e. In con. 19th century the ensemble of ashug Jivani gained fame.
In the owls time conditions for wide development of O. of n are created. and. In the union and autonomous republics, a lot of work was done to improve and reconstruct bunks. music tools that contributed to the enrichment of their express. and tech. opportunities (see Reconstruction of musical instruments). One of the first orchestras made up of improved bunks. instruments, was the so-called. Eastern Symphony. orchestra organized by VG Buni in 1925-26 in Armenia.
Since the 1940s in traditional Ensembles are increasingly introduced to complement. tools. So, in the ensemble of Russian. kuvikl often includes snot, zhaleyka and violin, the Caucasian duet of zurn and dudukov is accompanied by an “eastern” harmonica, etc. The harmonica, and especially its varieties such as button accordion, accordion, are widely included in many. nat. ensembles. The composition of the Russian He. and., in addition to the button accordion, they also occasionally include zhaleyki, horns, spoons, and sometimes a flute, oboe, clarinet, and other spirits. instruments (for example, in the orchestra of the Song and Dance Ensemble of the Soviet Army named after A.V. Aleksandrov). A number of prof. He. and., were created instr. groups at song and dance ensembles, choir. and dance. collectives, at radio broadcasting committees. Along with prof. He. and., administered by the allied and rep. Philharmonic and leading a wide conc. work, in the USSR, amateurs became widespread. orchestras and ensembles (at houses of culture, clubs). He. and. arise in republics where previously there was no polyphony and ensemble playing (for example, in Kazakhstan, Kyrgyzstan, Turkmenistan). Among the most mean. He. and .: Rus. nar. orchestra them. N. P. Osipova (Moscow, since 1940), Rus. nar. orchestra them. V. V. Andreeva (see Orchestra of Russian Folk Instruments), Kazakh. folk orchestra tools to them. Kurmangazy (1934), Uzbek. folk orchestra instruments (1938), Nar. orchestra of the BSSR (1938), orchestra mold. nar. instruments (1949, since 1957 “Fluerash”) and the ensemble of nar. music “Folklore” (1968) in Moldova, orchestra Rus. nar. choir them. M. B. Pyatnitsky, orchestra at the Song and Dance Ensemble of Owls. Army them. A. V. Aleksandrova; instr. group at the Karelian song and dance ensemble “Kantele” (1936), lit. Ensemble “Letuva” (1940), Ukr. nar. choir them. G. Veryovki (1943). Orchestras and Ensembles instruments have an extensive repertoire, which includes instr. plays, dances and songs of the peoples of the USSR and abroad. countries, as well as owls. composers (including those written specifically for O. n. and.), classical. music.
Playing classes on nar. tools, training cadres prof. performers, conductors, teachers and art directors. amateur performances, are available in a number of higher uch. institutions of the country (for example, in Leningrad, Kyiv, Riga, Baku, Tashkent and other conservatories, Moscow Musical and Pedagogical Institute, in culture institutes of many cities), as well as in music. uch-shah, children’s music. schools, special circles at the Palaces of Culture and large amateurs. collectives.
He. and. common in other socialist. countries. In foreign countries there are prof. and amateur O. n. and., including also guitars, mandolins, violins, etc. modern. music tools.
References: Andreev V.V., The Great Russian Orchestra and Its Significance for the People, (P., 1917); Alekseev K., Amateur Orchestra of Folk Instruments, M., 1948; Gizatov B., Kazakh state. Orchestra of Folk Instruments Kurmangazy, A.-A., 1957; Zhinovich I., State. Belarusian folk orchestra, Minsk, 1958; Vyzgo T., Petrosyants A., Uzbek orchestra of folk instruments, Tash., 1962; Sokolov F., V. V. Andreev and his orchestra, L., 1962; Vertkov K., Russian folk musical instruments, L., 1975.
G. I. Blagodatov
