The bulk of the Mari in the past was illiterate: before the Great October Revolution, there were about 16% of literate men, and 2% of women. Mari with higher education, there were 10 people. One school accounted for 900 inhabitants. Education was available mainly to the children of wealthy Mari. The matter of public education was in the hands of the clergy, although among the teachers there were also advanced people who introduced the Mari to the culture of the Russian people. The missionary society in Kazan was engaged in the publication of Mari literature. The first book in the Mari language, published in 1821, was a gospel printed in Russian letters, in 1827 a grammar of the Gorno-Mari-skrgo dialect appeared, although it was still far from perfect, since it almost did not reveal the specifics of the Mari language. Subsequent editions were books of religious content, but there were few of them: for 100 years, p. 1821 to 1921, only 112 titles were published.

Among the illiterate masses of the Mari, the so-called pre-letter writing was widespread. Ownership signs - tamgas (tamga) - also served as generic signs. They were placed on trees in hunting grounds, on sides, fishing tools, on utensils. These signs in some cases also served as a receipt. In the document of 1872, the signatures of the Mari peasants were represented by generic signs. In addition, tags were used - tax, tax, shepherd's, dyeing, etc. In them, along with signs of householders, counting units - money, livestock, etc. were marked with notches.

Until 1870, for invitations to public prayers, boards were used, on which conditional images of one or another sacred grove were carved.

In Soviet times, the Mari people achieved great success in the development of culture. From the very first days of the revolution, work began on organizing the education of the masses. A vivid illustration of the victory of the Leninist national policy was the creation of a new, Soviet school with children taught in their native language. Since 1930, universal primary education has been introduced in the republic. Now the republic has achieved a complete literacy of the population.

The annual planned expansion of the network of schools, the growth in the number of students in complete secondary schools is a clear indicator of the growth of the culture of the Mari people. By the 40th anniversary of the republic (June 1961) there were 785 general education schools with more than 110 thousand children, and 13 boarding schools with 3500 students. In addition, several thousand people studied at technical schools and other secondary specialized educational institutions. In accordance with the law “On strengthening the connection between school and life”, general education schools with industrial training have been created in the republic.

In the Mari ASSR, there are 181 students per thousand inhabitants. This is 31 more than in England and 37 more than in France.

In the region, where before the revolution the population did not have the opportunity to receive even primary education, there are now two higher educational institutions: the Mari State Pedagogical Institute named after N.N. K. Krupskaya and Volga Forest Engineering Institute. A. M. Gorky. In addition, Mari students study at universities in Moscow, Leningrad, Gorky and other cities. There are 80 students for every 10 thousand inhabitants in the republic.

There are 472 mass libraries, 504 clubs, 302 film installations, 535 red corners in the Mari ASSR. In the cities there are three theaters, two museums, a philharmonic society. Some schools have school museums.

The Mari have the opportunity to watch movies dubbed into their native language.

Inaccessible in the past bookish knowledge, the people filled with knowledge acquired by experience. The simplest meteorological instruments invented by them (in particular, a hygrometer using a bird-cherry or juniper twig) testify to the natural sharpness and observation of the Mari. They also possessed a vast store of empirical knowledge in the field of phenology.

Now meteorology on the collective farms has been put on a scientific basis; Meteorological and experimental stations operate on a number of collective farms.

The development of the press contributes to the growth of the culture of the Mari people. 3 magazines and 27 different newspapers are published in the republic. The Mari book publishing house publishes annually about 700 thousand copies. books. Mari read in their native language the works of the classics of Marxism-Leninism, Russian and world literature, books of Soviet writers.

Simultaneously with the growth of culture and public education, science is also developing in the Mari ASSR. The leading scientific institution of the republic in the field of the humanities is the Mari Research Institute in Yoshkar-Ola. He annually organizes expeditions - archaeological, folklore, dialectological, ethnographic, collecting a lot of material on the history, language, life and culture of the Mari people.

Conditions have been created in the republic for the training of scientific personnel, especially from among the Mari. Postgraduate studies have been opened at the forestry and pedagogical institutes. -research institutions employ more than 300 Mari researchers and university professors, among them 100 people with academic degrees and titles.

Folklore and literature

Before the revolution, the Mari people did not have their own national fiction. He expressed his thoughts, feelings, artistic talents and opportunities in oral folk art. A significant place in the folklore of the Mari was occupied by songs: lyrical, everyday, wedding, recruiting, guest, dancing. Favorite were lyrical songs close to laments. They often reflected the hard life of the Mari people. There was even a special genre - "songs of sadness."

In addition to songs, fairy tales were widespread, as well as oral traditions and legends. In almost every village to this day, you can hear stories from old people about the distant past of the Mari region, about its first inhabitants, about the legendary Mari heroes who fought for the independence and happiness of the Mari people.

The emergence of Mari fiction is attributed to the period of the first Russian revolution of 1905-1907. However, most of the poetic works of these years, which pursued mainly educational goals (authors S. G. Chavain, M. S. Gerasimov, G. Mikai), saw the light only after the Great October Socialist Revolution.

From the very first years after the revolution, mass printing began to develop, newspapers in the Mari language began to appear, where the first works of Mari writers were published.

Poetry has received the greatest development in Mari fiction. The first representatives of Mari poetry were N. Mukhin and G. Mikay. Among the speakers at the present time, one can name many names of talented poets: M. Kazakov, G. Matyukovsky, V. Chalay, M. Main, N. Ilyakov, I. Osmin, A. Vik, etc. In their works of recent years, themes of peaceful labor, communist education of the Soviet person. These themes are reflected in both lyrics and epic works.

Mari poets pay considerable attention to translations into their native language of the works of great Russian poets - A. S. Pushkin, M. Yu. Lermontov, N. A. Nekrasov and Soviet authors - V. V. Mayakovsky, K. M. Simonov and others. poems of Mari poets are translated into Russian. In 1950, a collection of poems and poems by M. Kazakov “Poetry is a beloved friend” (in Russian) was published in Russian, awarded the State Prize.

The founder of the Mari artistic prose was M. Shketan. He created the first novel in the Mari literature "Erenger". This work reflects the life of the Mari people in the early years of collectivization. Now in the Mari literature there are many works that touch on a wide range of problems of modern life. The past of the Mari people is also described. The novels, short stories and short stories by N. Lekain, D. Orai, N. Ilyakov, A. Erykin, Z. Katkova and others reflect the themes that characterize the awakening of the Mari workers during the years of revolutionary upsurge and the creation of a new national intelligentsia during the period of collectivization of the countryside, the struggle of Soviet people during the Great Patriotic War and peaceful creative work at the present time. Writers S. N. Nikolaev, N. Arban, who continue the traditions of the first Mari playwrights - A. F. Konakova, M. Shketan and others, are fruitfully working in the field of Mari dramaturgy.

The works of Mari writers have been translated not only into Russian, but also into the languages of other fraternal peoples of our country. Many of them became known in the people's democracies.

In July 1956, the Union of Writers of the USSR organized evenings of Mari poetry with performances by the poets of the Mari ASSR before the working people of Moscow. In the course of a cultural exchange, in the spring of 1961 Mari writers performed in fraternal Tataria, and in November of the same year a week of Tatar literature and art was organized in Yoshkar-Ola.

art

Before the October Revolution, the Mari had no professional fine arts. However, their everyday ornamental art speaks of the talent and artistic taste of its creators.

Among other types of folk arts and crafts, the most widespread in the past was embroidery, which was used to decorate clothes. Mari ancient embroidery was distinguished by harmonious forms, colors, and compositions. In horrendous living conditions, by the light of a torch, in a smoking hut, Mari women created works of amazing beauty.

The embroidery ornament on the clothes of different local groups had its own characteristic features. The clothes of the meadow Marikas were decorated with wide massive stripes of embroidery with a large pattern, the mountain Marikas embroidered narrow stripes with a small geometric pattern. The embroidery of the Mari living in Bashkiria is characterized by the predominance of black, dark blue and brown colors. Embroidery was carried out without canvas, according to the thread count; often it was bilateral. First, the outline of the pattern was sheathed with black or blue threads, and then the background was filled. Embroidering a complex and small pattern required a lot of time. So, it took at least a month to finish a women's shirt, for example.

Mari women have carried their love for embroidery through the centuries. Samples of modern embroidery on clothes testify to the great skill of Mari women. If the ancient Mari embroidery was characterized by a geometric pattern, a strong stylization of an animal and a weak use of floral ornaments, then the new one is dominated by floral patterns: flowers, leaves, garlands. Often, Soviet emblems are included in the ornament. Rounded lines appear, which is facilitated by the development of new technology (tambour, smooth surface). The nature of embroidery resembles Tatar, sometimes it has similarities with Ukrainian.

Mari embroiderers create beautiful examples of modern embroidery at local industrial enterprises under the guidance of applied artist JL A. Orlova, which are also exhibited at international exhibitions. Only in 1958, the products of the Mari embroiderers were shown at nine exhibitions - in Brussels, Damascus, Poznan, Kabul, Zagreb, Izmail, Leipzig, Osaka and, finally, in Moscow. Embroidery is no longer nameless. The names of embroiderers Zaitseva, Fazleeva, Babushkina, Kuklina, Novoselova become famous not only in our country, but also abroad,

The Mari also developed artistic processing of wood. Carving was used to decorate household items, dwellings, utensils, it was widely used for ornamenting religious objects. Wooden carved scoops for pouring beer and mash were common. The figure of a horse prevailed in the ornament of the ladles of the mountain Mari, and the image of a bear and birds prevailed among the meadow ones.

The artistic processing of wood among the mountain Mari acquired the character of a craft. In the villages of the current Gornomariysky district - Shyndyryal, Nosely, Shelabolki, Chermyshevo - handicraft production of burnt canes and woven bird cherry products was developed. These traditional types of fine folk art of the Mari exist among them at the present time.

Professionals using the art of woodworking in sculpture have grown from the environment of folk craftsmen-carvers. Among them should be attributed the self-taught master F. P. Shaberdin. His wooden sculptures - "Mari girl", "Silver-toothed Pympalche" (folklore plot), "Folk musicians", as well as a number of busts for monuments to writers of the republic make a valuable contribution to the visual arts of the Mari. Folk master F. P. Shaberdin was awarded the title of Honored Art Worker.

The first Mari professional artist was A. V. Grigoriev, one of the organizers of the AHRR; he did a lot to educate the national cadre of artists in the Mari Republic in the early years of its formation.

The development of artistic culture in the republic was facilitated by the opening in two of its cities, Yoshkar-Ola and Kozmodemyansk, of local history museums with large collections of paintings. In the art gallery at the Kozmodemyansky Museum (opened in 1919), along with the works of local artists, paintings by major Russian painters - Kustodiev, Vrubel, Shishkin, Benois, Golovin, Malyavin, Zhukovsky and others were exhibited.

The museum of Yoshkar-Ola (opened in 1924) exhibits the best works of the first Mari artists - Gorbunov, Atlashkina, Dobrynin and others. In the 30s, a creative association (branch of the AHRR) of Volga artists was actively working, among which were V. K. Timofeev, P. A. Radimov, G. A. Medvedev, E. D. Atlashkina, K. F. Egorov, P. T. Gorbunov, I. M. Plandin and others. Their works of those years reflected a new life in the young Mari Republic and the difficult past of the people (“Agitator from the city” by Gorbunov, “Collection of yasak” by Medvedev, etc.).

The works of Mari artists, created during the Great Patriotic War, captured the participation of the Mari in the defense of the Motherland: “Sending gifts to the front” by P. Dobrynin, “Surrender to the Fund for the Defense of the Motherland” by B. Osipov.

At present, all genres are represented in the Mari fine arts: painting, graphics, book illustration, theatrical scenery.

Repeatedly held republican art exhibitions testify to the significant successes achieved by Mari artists. Their works were also exhibited at exhibitions in Kazan and Moscow. The following paintings are widely known: “Signing the Decree on the Organization of the Mari Autonomy” and “Seeing the Communist Volunteers to the Front” by V. M. Kozmin, “Pugachev in the Mari Village” by E. D. Atlashkina, “People’s Singer” and “Tuning” I. I. Mamaeva, “Academician Mosolov among collective farmers” by D. A. Mitrofanov and others.

Theatre

The first Mari mobile theater was created in 1919 on the basis of an amateur group.

The core of the theater was the founder of Mari literature M. Shketan, teachers Belyaev, Belkov and others. Three-month courses were organized in Yoshkar-Ola (then Krasnokokshaisk) to train actors. In 1926, a theater building was built and a studio was organized to improve the skills of theater workers and train personnel.

In 1929, the Mari State Theater was organized from those who graduated from the theater studio. In 1930, his team already participated in the All-Union Art Olympiad in Moscow.

Plays from the life of the Mari, such as “Salika” and “Aivika” by S. N. Nikolaev, “In the native village” by A. Volkov, etc., are very popular with the audience. Mari melodies are used in the musical accompaniment of such plays. The artistic design of the plays vividly reflects the national characteristics of culture and life, the study of which the theater pays great attention to. The theater is also working on staging plays by Russian classics and Soviet playwrights.

Music

The Mari have long had their own original musical culture. The music of the Mari is distinguished by its richness of forms and melodiousness. Mari national musical instruments are the gusli (kusle), bubble (yuvyr), drum (tumur) and various pipes (puch) - birch bark, horn, wood.

Playing the harp was accompanied by dances at holidays, as well as some religious ceremonies. The strings were made from sheep intestines or lived, tuned in a five-ton scale. Among the meadow Maris, only men played the gusli, among the mountainous - mostly women, and the bride had to play at her wedding. The bubble (a kind of bagpipe) was played mostly at weddings, accompanied by a drum; it was considered a specially masculine instrument.

Trumpets had ritual significance. Birch-bark trumpets (surem puch) were used to exorcise an evil spirit at a summer festival. Harvest trumpets were blown a week before harvest. The autumn trumpets (giyzhe puch) were trumpeted by girls who had reached the age of majority.

In a number of regions, musical instruments were made by Mari handicraftsmen for sale.

Melodic, full of lyricism, lingering tunes were performed on folk musical instruments, they accompanied Mari songs, instrumental folk music was also performed on them.

It is interesting to note that the Russian composers Balakirev, Glazunov, Afanasiev were interested in the music of the Mari people and used it in their work. So, in the middle of the XIX century. The Russian composer Afanasiev created the Volga quartet based on the melody of one mountain Mari song and a goose dance tune. This quartet, warmly received by the musical community, was awarded the first prize of the Russian Musical Society in 1860. On the basis of Mari folk music, the creativity of Mari composers develops. The founder of Mari professional music is the first Mari composer - I. S. Palantai (Klyuchnikov, died in 1926). He created over 50 works. Most of them are arrangements of folk melodies for the choir. Palantai laid the foundations for polyphonic choral singing in Mari music. He also proved himself in the musical and pedagogical field as the leader of the national song choir.

Honored Art Worker of the Mari ASSR, the oldest Mari composer Ya. A. Eshpay (died in 1963) is at the same time a theorist of Mari music. He owns the monograph "Musical culture of the Mari people".

The musical and song works of the Mari composers Ya. A. Eshpay, K. A. Smirnov, A. I. Iskandarov, N. A. Sidushkin and others are diverse, but all of them have an organic connection with the Mari national music. In 1963, a production of the first Mari opera Akpatyr by composer E. Sapaev was prepared at the Mari Opera Theatre.

The choir of the Radio Committee, as well as the song and dance ensemble of the Mari State Philharmonic played an important role in the development of the Mari choral culture and the promotion of Mari music. The Yoshkar-Ola School named after V.I. I. Palantaya and music school for children named after. P. I. Tchaikovsky. Music schools have also been opened in a number of regions of the Mari Republic.

At present, folk amateur art has received significant development in the Mari ASSR. Hundreds of amateur art groups are being set up on collective farms, enterprises and educational institutions. Reviews, song festivals, festivals, reporting concerts, etc. are systematically held. There are about 2,000 amateur art circles in the republic, comprising up to 25,000 participants. At amateur art shows, participants often play national musical instruments. The Mari ensemble of guslars twice won the right to perform in Moscow at the All-Russian amateur art show (in 1948 and 1954).

The oral folk art of the Mari is rich in content, diverse in types and genres. Arising in ancient times, it expressed the thoughts and aspirations of people, their practical mind and ingenuity. It reflects real historical events, epic stories, customs and rituals, mythological ideas and many other aspects of the life of the people.

In legends and traditions toshto oh) reflected various moments of ethnic and socio-political history: settlement and migration, relationships with neighboring tribes and peoples, battles with strangers, the activities and exploits of heroes and heroes, the foundation of settlements, settlements and cities, the origin and emergence of various forms and types of economy and culture, social phenomena, participation in socio-political events in different periods, and more. Fairy tales ( yomak, shaya) in an allegorical form, they tell about the social life of the people, everyday relationships of people, praise their positive and ridicule their negative qualities and actions, express the triumph of good over evil.

Ritual folklore occupied a significant place in the oral folk art of the Mari. Ritual folklore was closely associated with various kinds of celebrations: calendar holidays, wedding ceremonies, funeral and memorial rites, seeing off for military service, etc. These events were accompanied by songs, dances, music, spells specially timed for them. Ritual songs were performed to a special, in each case, specific melody, often with musical accompaniment.

Songs ( muro, myry) is the most widespread and most original genre of Mari folklore. In them, the people poetically sang of their native land and its nature, expressed feelings of joy, hope and grief. Songs accompanied labor activity, holiday celebrations, games and entertainment, family rituals. There are labor, household, guest, wedding, orphan, recruit, funeral, meditation songs and others. A characteristic feature of the Mari songs is the two-part construction of figurative expressions based on comparison or opposition: behind the image of a natural phenomenon, an expression of a feeling, state of mind or action of a person is reproduced.

Especially rich and varied in repertoire and melody are wedding songs, like all wedding folklore. During the wedding, the wedding ranks were supposed to sing songs dedicated to specific persons, participants and guests from the bride. The main song load was carried by the women participating in the ceremony ( syan-wate) by the groom. In their songs, they announced the purpose of their arrival, described the route to follow, bought a place at the table with songs, expressed gratitude to the hosts and their relatives for the reception, food and education of the bride, and paid tribute to her. They certainly praised their neighborhood and village, the groom, his parents and their household, expressed the wishes of health, happiness, prosperity and numerous offspring to the newlyweds.

The structure of the folk song corresponds to the Mari musical instruments. The most common of them were: from wind instruments - a flute ( Shiyaltysh), wooden pipes wrapped with birch bark ( beam), bagpipe with bubble ( shyavyr), clay whistles ( shun shashpyk); from stringed plucked - psaltery ( kasle, karsh), violin ( kovyzh), from drums - drum ( tyamyr). In the 19th century, widespread accordion.

The instrumental music of the Mari was closely connected with family and religious rituals, with song and dance creativity. Song and dance melodies were played to the bagpipe, accompanied by a drum, during holidays and weddings, ritual ones - at the wake, during the inspection of seedlings after sowing. Pipers (shyavyro ) were considered the most expensive and honorable persons at holidays and ceremonies, performing a public duty, for which they were awarded with embroidered shirts or towels. The participation of a piper as a wedding ceremony was considered especially prestigious. The most popular bagpipers played at dozens of weddings in their lives, as evidenced by the mass of wedding towels.

Song and dance melodies were also performed on the harp, and women also played them. During prayers in sacred groves, the harp was used to play ritual melodies. Pipes were a signaling tool for hunters, shepherds, and lumberjacks. During the holidays Syarem and Uginde playing the trumpet acquired a ritual character. Among the Meadow Mari, girlish trumpets were known, which were blown by marriageable brides on summer evenings free from work. The original way of performance was the reproduction by women and girls of song and dance melodies with their lips using a tree leaf or thin skin of birch bark.

Conspiracies and spells, which are means of magical influence on the world around us through a special kind of verbal formulas, can be attributed to oral folk art. They had a different orientation: protective (from spoilage), therapeutic and healing (from illness), love (for a love spell), as well as the opposite action to them. Verbal sayings of conspiracies and spells are clothed in subtle epithets and comparisons. For example, to protect against damage ( elbow) or short life, to ensure a long life of the individual, uttered a long monologue over the spoken subject (food, drink): "When the sorcerer can shorten the age of God, only then let him take the soul (of this person)." This is followed by a list of other natural objects - land, sea, lightning, rainbow, wind, clouds, at the same time 77 species of birds and trees, 77 people, whose eternal existence and life the sorcerer will have to be able to take away in order to doom the person specifically spoken to to premature death. The conspiracy ends with a wish: "As oil melts, ice melts, honey dissolves, clouds disperse and melt, rainbows, frost ... let it also melt, go away, the damage sent by the sorcerer does not succeed."

Numerous verbal formulas were uttered during love conspiracies in order to "dry" the soul and heart, to ensure the mutual feelings of specific partners by the actions of one of them or a third party. The essence of the formula was expressed in the enumeration of a set of figurative phenomena or objects compared with a feeling of sympathy and love. So, in one of the conspiracies, the following sayings were uttered: "As the fire flares up, the dawn breaks, the sun shines ... let the feeling of his love for me flare up (shine) in the same way." In another case, the following comparisons are made: "As the sun (moon) revolves around the earth, as hops wrap around a pole, a wheel rotates around an axis, a millstone rotates relative to another, as milk (water) boils and circulates inside a boiler, so does his soul, let my heart revolve, wrap around me, stick to me." The following formulas are also used: “As 77 types of flowers bloom, 77 types of fruits ripen, like a forehead, stoves and a bench, a pair of fence posts ... face each other, let his feelings bloom (ripen), his soul and heart let them turn to me." When pronouncing a conspiracy, each formula is pronounced in a completely separate sentence.

In the post-October period, folklore developed in the form of amateur performances. Ritual folklore remains the most popular with its traditional song and dance repertoire accompanied by various musical accompaniments. Along with songs, ditties accompanied by accordion and button accordion became popular. In recent decades, folklore ensembles have emerged at rural and urban Houses of Culture, in various production teams and educational institutions, in the repertoire and performance of which traditional songs, dances, games and musical instruments have been developed and revived. The first folklore ensemble in the republic " Mariy pamash"("Mari spring") paved the way outside the country, introduced a number of European countries from Finland to Spain to Mari folk art and art. Following him, other folklore groups visited Hungary, Finland and Estonia.

With the formation of Mari autonomy, conditions were created for the development of professional culture and art: print and literature, theater and music, painting, sculpture and architecture.

The history of the musical culture of the Mari

The folklore of the Mari is represented by such genres as historical legends, mythological stories, proverbs, sayings, etc. Among the original creativity of the Mari, ritual melodies are especially distinguished; they were performed at family ceremonies, seeing off to soldiers, etc.

A feature of the Mari folklore is the special nature of the tune. Especially diverse are the wedding songs that accompany each stage of the wedding ceremony.

Mari melodies with a drawling intonation are progressing. Dance songs and ditties were sung rhythmically. Mari ditties in their native language are very similar to Russian. The Mari have preserved ancient instruments, the tradition of playing which distinguishes them from other peoples. Instrumental creativity is closely connected with song and choreographic creativity. Musicians were considered the most expensive guests at weddings and other village holidays. Later, the accordion eclipsed all other instruments. And now it plays a significant role in the festive and family-ritual life of the Mari. The Kama Mari have best preserved their national culture and way of life. But at present, public prayers with sacrifices are not performed in any Mari village of the Perm Territory.

Songwriting and folk instrumental music are the most important part of the traditional art of the Mari. The musical and song culture of the Mari is very peculiar, it traces Finno-Ugric roots, the influence of Turkic music, and the influence of Russian song.

The first attempts to harmonize Mari melodies were made at the beginning of the 20th century.

The musical culture of the Mari was represented exclusively by folk art. Lyrical song has been the main genre of musical folklore since ancient times.

b) meadow

c) eastern

The songs of these groups are different in modal, rhythmic relations, in form, range, etc. Most of the Mari songs are based on the non-semitone pentatonic scale. Oriental songs are characterized by a combination of pentatonic scales with other diatonic modes. Most of the melodies of mountain songs include fourth-fifth, sixth intonations without filling. A characteristic feature of the drawn-out Mari songs are irregularly variable meters; for dance melodies, a clear rhythm and a constant time signature are common.

In Mari songs, the melodies are very similar, often different words are superimposed on one melody and performed.

Genres of Mari songs

Songs recorded in the expedition of the Suksun region

Guest song “Ayda Yolash Kaena” (“Your guests will be happy”)

The song is two-part, sung in the chest register. Key in D minor. Size 5/4. The rhythmic pattern is even. Range 1.5 octaves - re small octave - for the first octave. Cuplet form. The melody is undulating, there is a jump to a fourth.

1. Ayda oltash kaena

im wood gray

Shea wood grey, shea Woodsham

Oh, come on, come on. - 2 times

2. Shea wood gray

Shiy vudshim it padya

Shiy Wood gray shiy scumbag

Oh, kunchalash. Kunchalash. -2 times

3. Ayda yoltash kaena

Sar olokash

Sar kukushpash, sar murizhim

Oh, kolshtash, kolshtash. - 2 times

4. Ayda yoltash kaena

Mor Arkashke

More Arkashka, more so let's say

Start, start. - 2 times

5. Mor arcashte mor

Let's say it legs

Sar shushenemy we live

Kolshtash, Kolshtash. - 2 times

6. Ayda yoltash kaena

Yal muchashke

Yal muchashke accordion

Yukiem Kolshtash - 2 times

7. Yal mushte accordion

Juovel she kolel

Yal muchashte harmonists

Course work

"Mari musical song culture"

Introduction

Mari of the Perm Territory

The history of the musical and song culture of the Mari

Genres of Mari songs

Mari composers of Russia

Analysis of the works of the composer A.Ya.Eshpay

Mari composer of the Perm region

Conclusion

Introduction

About 2 thousand peoples and nationalities live on the globe, which differ from each other in language, customs, traditions, as well as in culture, including musical and song. The reason for these differences is the deep historical factors of the settlement of various territories, their way of life. Analyzing the folklore music of peoples that belong to different cultures, we can see that the musical culture was original, unique, at the same time subject to general patterns developed over many centuries. As you know, a melody is a living organism with its own characteristics and patterns. The melody develops in such a way that its individual particles, being in relationship with each other, go through certain stages of development, based on the laws of internal logic. It is probably difficult to determine here what is the main, what is secondary. Songs, finding their way to the heart of the listener, despite their simplicity and small volume, contain the genetic code, which is the focus of the memory of the people. We find confirmation of what has been said in the oral folk art of different peoples, in proverbs, sayings, fairy tales, where the same features are manifested.

Topic of my research

The relevance of research:

Research problem:

Object of study: The song material in which the whole history and life of the Mari, who are settling in new Perm lands, was revealed.

Subject of study: Materials of the folklore expedition of students and teacher Maksimenko O.M. in the Suksunsky district of the Perm region, materials collected from various musical sources.

Purpose of the study:

Research hypothesis:

Research objectives:

Research methods:

Mari of the Perm Territory

The Mari are one of the peoples of the Finno-Ugric group. The main ethnic territory is the Middle Volga region, where the formation of the Mari people took place. In pre-revolutionary sources, the Mari were also called cheremis.

The main part of the Mari lives on the territory of the Republic of Mari-El. And also in the territories of the Urals and the Volga region. There are also large areas of settlement of the Mari people in the Kirov, Nizhny Novgorod, Sverdlovsk regions and in the Perm Territory, as well as in the Republics of Bashkortostan, Tatarstan, Udmurtia.

Meadow Mari settled on the left bank of the Volga River, and mountain Mari - on the right bank. The third ethnographic group is the Eastern Mari. It was formed to the east of the river. Vyatka. This group includes the Mari population of Tatarstan, Bashkortostan, Udmurtia, the Perm Territory and the Sverdlovsk Region. The founders of the Eastern Mari are people from the "meadow side" who moved to the east in the 16-18 centuries.

In the Perm Territory in 1989, 6.6 thousand people lived, by 2002 there were 5591 thousand of them left.

The migration of the Mari to the east, outside the ethnic territory, according to researchers, began even before the accession of the Middle Volga region to the Russian state. Initially, the Mari penetrated into the Kama-Vyatka interfluve, and then into the Trans-Kama and Ural regions. The beginning of mass migration began in the 16th century. In the scribe books of M. Kaisarov 1623-1624. the Mari population has already been recorded - “the 4th yurt of the Mari” - in the Sylva-Irensky river region. Subsequently, their numbers increased. In 1678 - 1679. in the Kungur district, there were already 100 Mari yurts with a male population of 311 people. The materials of the rewritten books of the Kungur district for 1704 give an idea of the number and settlement of the Mari in the Sylvensko-Irensky river region and on their migration routes from the Middle Volga region. In 1704, there were 213 Mari families in the Kungur district, who lived in 19 villages with a pure Mari population and in 4 villages with a mixed population. This information suggests that by the end of the 17th century. in the Kungur district there was already a significant Mari population, and the settlement by the Mari continued. The Mari migration movement to the Urals ends by the middle of the 18th century. Documents of the 17th early 18th century. the Mari villages that have survived to the present day are noted: Tebenyaki, Krasny Lug, Kamenka. Among the inhabitants of these villages, one can still hear legends about the settlement of the Mari in the Permian lands. A group of Maris that has developed in the upper reaches of the Sylva River is usually called the Sylven Maris. Until the 80s of the 18th century. most of the Mari villages of the modern Perm Territory belonged to the Kungur district, which was fixed in one of the names of this group of Perm Mari - Kungur Mari. Later, most of these villages went to the Krasnoufimsky district.

The Mari village of Tlyakovo is located in the Oktyabrsky district of the Perm Territory. According to the surviving legend, it arose at the end of the 18th century.

In the Kama region, there were three areas of settlement of the Mari:

1. Mari currently settled along the Sylva River (Kamenka village, Krasny Lug village, Syzganka village, Tebenyaki village, Vaskino village, Ivankovo village of the Suksunsky district)

2. Mari settled along the Sarsu River (village Tlyakovo, Oktyabrsky District). They still maintain marriage and family ties with the Mari of the Sverdlovsk region, most of all with the village of Yuva.

3. Mariytsy, Buimarzino village, Oktyabrsky district, and Teklovka village, Chernushinsky district.

The Mari population of the Kama region is an integral part of the Eastern Mari and to this day retain many features of the Mari culture.

The history of the musical culture of the Mari

A feature of the Mari folklore is the special nature of the tune. Especially diverse are the wedding songs that accompany each stage of the wedding ceremony.

The first attempts to harmonize Mari melodies were made at the beginning of the 20th century.

The musical culture of the Mari was represented exclusively by folk art. Lyrical song has been the main genre of musical folklore since ancient times.

b) meadow

c) eastern

In Mari songs, the melodies are very similar, often different words are superimposed on one melody and performed.

Genres of Mari songs

Songs recorded in the expedition of the Suksun region

1. Guest song "Ayda Yolash Kaena" ("Your guests will be happy")

The song is two-part, sung in the chest register. Key in D minor. Size 5/4. The rhythmic pattern is even. Range 1.5 octaves - small octave D - for the first octave. Cuplet form. The melody is undulating, there is a jump to a fourth.

1. Ayda oltash kaena

im wood gray

Shea wood grey, shea Woodsham

Oh, come on, come on. - 2 times

2. Shea wood gray

Shiy vudshim it padya

Shiy Wood gray shiy scumbag

Oh, kunchalash. Kunchalash. -2 times

3. Ayda yoltash kaena

Sar olokash

Sar kukushpash, sar murizhim

Oh, kolshtash, kolshtash. - 2 times

4. Ayda yoltash kaena

Mor Arkashke

More Arkashka, more so let's say

Start, start. - 2 times

5. Mor arcashte mor

Let's say it legs

Sar shushenemy we live

Kolshtash, Kolshtash. - 2 times

6. Ayda yoltash kaena

Yal muchashke

Yal muchashke accordion

Yukiem Kolshtash - 2 times

7. Yal mushte accordion

Juovel she kolel

Yal muchashte harmonists

Your Liam. - 2 times

2.Uloshnaya song "Koryshko" ("Let's go to the mountain")

The song is performed on the street by boys and girls during a walk.

Repetition is used. Size 4/4. Key in A-flat major. The pace is moderate. The range of the song is sixth - la small octave - f first. The melody is based on the third and filling it.

1. Aydayoltash little crust

Mandolin tamodna

Oh, there's only one mandolin

2.Moore needs a migarine

Kid koeno yorlena

Oh kid koeno yorlen

3. Suddenly sang suddenly sang

Spelek tshashe tologon

Oh, spelek tshashe tologon

4.Kshel tashen deskandenek

Shosho mache tologo

Oh, shosho mache tologon

5. Oshto mache pidagama

labor mino togisho

Oh labor mino togisho

6. You card togonyan

Taya mena togisho

Oh, that me togisho

3. Wedding glorious song "Inzholash taten"

The penalty was performed on the second day of the wedding by the husband and wife to their parents.

A feature of the melody is a lot of small durations, a dotted rhythmic pattern. The range of the song is the sixth, there are jumps to a fourth, a third stroke and filling it. Complex-mixed variable size.

1. Injolash tatin,

Intyash pop manne ten, walten

2. Monzhaten mo onzhela nahne

Interposhman mate, walten

3. Iermen tolontan oh koena

Intelila konjala, kivorla

4. Maniterna zhdolonda oh kohen

Intelila konjala, kivorla

5. Ishne kidolshte olte bolta

Erne malante, kervolte

6. Ishne kidolshte olte bolta erne

Malante, kervolte

7. Malante kervolte avaata

Yonzolate conter taysajir

8. Uko toten taishtash mura

Erla kushugan, mura

9. Tate tinda octa uzhan

Erla ushagan uzhan

4. Children's comic song "Ize vitshe" ("Little bird")

Key in B minor. fifth range. Smooth rhythmic pattern. Complex-mixed size. The movement of the melody by seconds, there is a jump by a fourth and a move by a triad.

1. Ize vitshe

Yolta Talesh

Ize pushon tarva talesh

Izu pushon tarwa ta

2. Jojo blunt

Kert sin zhalesh

Chever, chever, chever, chever

Chever ydyn shinzhalesh

3. Tui jo

Yolta Talezh

Sai salane, sai salane

Sai salane seralesh

4. Tu salamzhe

Mo shta sulfur yoshkar, yoshkar

Yoshkar, yoshkar

Yoshkar arles ser tero

5. Ise vitshe

Yolta Talesh

Ize pushon tarva talesh

Izu pushon tarwa ta

5. Uloshnaya ditty “Keche lektesh onzhalesh” (“The sun has come out and shines”)

Tonality Size 2/4. The range is 1.5 octaves - re of the first octave - salt of the second octave. The melody has big jumps: by fifth, sixth, octave. There are syncopations. Each verse sequentially rises higher and higher

1. Keche lektesh onzhalesh mardesh lektesh pualesh

Kandy tyrant nosovikem komtalesh

Erta, erta humoresh kodesh, kodesh kumolesh

Already meen aratalme yoltash

2. Oh, yoltashem kapka onulko leektem

Kande tyrant nosovikem ruizen it shogo

Tai in weight uglogen at mnn meanykertesh

Taien vverchen chonot yula manin itshono

4.Ty alampum mendeshench with meenvod optash

Ik olmazh malash rynot tyn seretotkert

My tei denet kelshesh davseden kaeshech

My veseden kaemrynyat tyn turns gray otkert

1. The sun is out and shining

The breeze is blowing

And dry my handkerchief

Pass, pass my life

And one memory remains...

2. My friend come out on the porch

But don't wave your handkerchief

If you have another

Then I may have another

And don't think that my heart

worry about you

3. You planted bird cherry,

I poured water

If I break the branch, you won't say anything.

I trusted you, and you left for another.

If I leave with another, you won't say anything.

Songs found in music publications

1. Mari call "Spray - spray"

Size 4/4. Dotted rhythm. Range - quart: re of the first octave - la of the first octave. Key in C major.

Spray - spray, rain drizzle,

Bring a cloud of smoke.

Wind, blow, spin.

Light rain, pour on us.

2.Mari game "In poppies"

Key in C major. The size is variable. Dotted rhythm. Range - sixth: re of the first octave - f of the first octave. Key

1. - Gray dove friend,

Tell us

Where do they plant poppies

And how do you sow poppies?

Here poppies are sown!

This is how poppies are sown!

2. - Gray dove friend,

Tell us

How does a poppy grow

And how does it bloom?

This is how it grows!

This is how it blooms!

3.Mari game "Bunny"

The size is variable, complex, mixed. Key in D minor. Fifth range: re of the first octave - salt of the first octave. in the melody there are jumps in thirds, fourths.

Wah-wah, bunny, where are you going?

devour birch bark

Where is your paw flattened?

In the winter cold on ice cold.

Where did your ponytail shorten?

Bit off a red fox behind a ravine

Where is your ear turned black?

Blackened in pine smoke

Woah-woah, bunny jump.

4.Mari counting rhyme "Blindfold"

Size 2/4. Key in A minor. Range - fifth: for the first octave - mi of the second octave. The character of performance is briskly. The melody moves in seconds and thirds.

Forty linden trees stand in the forest,

Forty birds sit on them,

Forty-first flies

And who's blind man - flies out!

5. Mari folk song "Mill"

The character is slow, mournful. Key in D minor. Size ¾. The character of the performance is slow, mournful. Range 1.5 octave: re second octave - up to the first octave.

6. Mari folk song "Lullaby"

Character execution is slow. Size 2/4. The key is E flat minor. The melody moves in thirds and seconds. Range 1.5 octave: for the first octave - B of the small octave.

Mari composers of Russia

The first Mari composer was Ivan Stepanovich Klyuchnikov-Palantay who later became the founder of professional music.

He was born in a small village located on the banks of the Bolshaya Kokshaga on April 11 (April 24, according to a new style), 1886.

His father, Stepan Petrovich, who worked most of his working life on a timber rafting on the Volga, had a cheerful, energetic and strong-willed character. And from his mother Anastasia Yakovlevna Klyuchnikova, he inherited great musicality, sincerity and purity of soul. Ivan grew up as a kind, cheerful boy. He was tall, strong, with curly hair. Early learned to play the harmonica and the harp.

The beginning of professional Mari music was laid in the 20s and is associated with the creative activity of the first national composer I.S. Klyuchnikov-Palantai. Mari folklore has become the most important basis for the formation of professional music. Its origin, as in other national republics of the Volga region, began with vocal and choral creativity. I.S. Palantai was educated as a choir director at the Kazan Musical College, and trained at the choir courses at the Court Choir in St. Petersburg. The composer's creative activity is connected with the first Mari choir he created at the Mari Pedagogical College, for which he wrote arrangements of Mari folk songs and original compositions of the song genre. The most famous choral compositions of the composer - "Kÿsle" (Gusli), "Vÿdshö Yoga" (Waters flow), "Yyvyrte" (Rejoice) and today are the pearls of Mari choral music. After I. Palantai, the genre of vocal and choral music was widely developed in the work of Ya.A. Eshpay, A.I. Iskandarova, N.A. Sidushkin. In the work of these composers, the theme of choral music has expanded, new genre varieties have been developed.

Alexey Iskandarovich Iskandarov was born on March 21, 1906 in the village of Irsaevo (Irsayal) into a musical family. His father, Iskandar, sang best of all. They say: he sang at one end of the village, it was heard at the other.

Alexei studied at the elementary zemstvo school in the village of Mitryaevo. Then he entered a two-year nonresident school in the village of Sakharovo. Later this school was reorganized into an orphanage. It is here that an event takes place that can be considered important: for the first time he hears the choir, many-voiced choral singing. It makes an indelible impression on him. From his teacher V. G. Bekbulatov, Alexei Iskandarov first heard about the composer Ivan Stepanovich Klyuchnikov - Palantay, who writes Mari songs for the choir. Palantay's songs were also sung by the choir of the orphanage, including "The Internationale" in the Mari language, arranged by Palantay.

In December 1920, pupils of the orphanage, high school students, were taken to Nikolo-Berezovka on the Kama - to the pedagogical college. Among them was Iskandarov, as well as the later famous writer Yanysh Yalkain. This friendship became the union of two creative personalities.

In 1924, the technical school was transferred to the city of Birsk. Here he meets wonderful people, Mari teachers and educators, who helped many in his musical development. Music teacher M.E. Krylov taught him to play the piano. Director of the Pedagogical College L. Ya. Mendiyarov personally knew the composer Palantai. Mendiyarov gave money for the journey, a letter of recommendation, and in 1925 Alexei Iskandarov went to the city of Krasnokokshaisk to the composer. Palantai accepted him and recommended that he study music seriously if he wanted to become a musician. Under his leadership, Alexei went through the initial school of a conductor-choirmaster, was the head of the choir, acquired the skills of practical work, often held rehearsals and rehearsals in the absence of a teacher. Communication with a wonderful musician was an important step in Iskandarov's professional growth.

In a pedagogical college, he makes his first attempt at composing music. It was an adaptation of the Eastern Mari song “Snege” according to the laws of Palantay.

After completing his studies, Iskandarov leaves to work in the Mari-Turek region - in the Nartas Agricultural College as a teacher of music and singing. However, the thought and desire to become a musician, to study music, do not leave Iskandarov.

In 1928, he entered the Moscow State Conservatory at the Faculty of Conducting and Choral and studied with such masters of choral conducting as P. K. Chesnokov, N. M. Danilin, A. V. Nikolsky, I. V. Sposobin, A. V. Alexandrov. At the conservatory he returns to composing music. A characteristic trend in education at that time was the desire to bring the educational process closer to life, to the practical demands of cultural development. A mandatory long-term production practice was also established.

Song lyrics and choral compositions by A. Iskandarov (“I can’t forget”, “How can I be”, choral landscape sketches - “In the Forest”, “Cuckoo”, etc.) gained great popularity in the 30-60s. A significant contribution to the national vocal and choral music of K. A. Smirnov. His choral adaptations are notable for their brightness of sound, picturesqueness, - “Tup-oak-oak”, “Sounding accordion”, etc. The music of the 70-90s is characterized by the desire for cyclization of choral miniatures, an appeal to large forms and genres. The first Mari oratorio by S.N. Makov "Muraltem my yyvyrten" (I sing for joy) to the verses of Y. Kyrli, choral concert by Yu.S. Evdokimov, choral cantata by V.A. Zakharov "Chavainlan Semarshash" (Wreath to Chavain) to lyrics by S.G. Chavain. Contemporary authors retain their interest in genre miniatures (works by Yu.S. Evdokimov, V.M. Alekseev).

Kuzma Alekseevich Smirnov (1917-1963)

Born on October 10 in the village of Shikhmamat, Medvedev District, RME. Grew up in a peasant family. After graduating from the Yoshkar-Ola Musical College, he entered the Leningrad Conservatory. His teachers in the field of composition were Professor Kh.S.Kushnarev, D.D.Shostakovich, B.A.Arapov.

While studying at the school, the conservatory, and especially during the years of work at the MarNII - first as the head of the arts sector, and then as a researcher in musical folklore (1943-1947) - Smirnov travels a lot around the Mari Republic, Bashkir, Tatar ASSR, Kirov and Perm regions for the purpose of recording musical folklore. He collected and processed about 700 Mari folk melodies.

Smirnov's arrangements of folk songs, based on composing the techniques of folk art and professional art, are distinguished by originality and originality. K. Smirnov for the first time in the history of Mari music turns to major symphonic genres. He created two symphonies, a fantasy on Mountain Mari themes, musical pictures, a poem, etc. Music for dramatic performances, romances, works for pianoforte, for violin and piano - this is by no means a complete list of genres, indicating the breadth of the composer's creative interests.

A significant contribution to the development of national art is marked by the assignment of his name to the Children's Music School in the village of Medvedevo.

Analysis of the works of the composer A.Ya.Eshpay

Mari song composer compilation

Andrey Eshpay was born in Kosmodemyansk on the river. Volga. Years of life 1925 - .... Mari Soviet composer, choral conductor, teacher, folklorist. Honored Art Worker of the Mari ASSR (1941). In 1930 he graduated from the Moscow Conservatory (class of G. E. Konyus), in 1933 he completed postgraduate studies. PhD in Art History (1946). In 1913-27 he was a singing teacher, musician, choirmaster. He wrote music for the performances of the Mari Theater: "Shurko" by Shketan, "Mulshatar" (together with L. N. Sakharov) and "Mari Company" by Chavain (1934) and works of other genres.

By nature, Andrey Eshpay is an energetic, impulsive, witty, charming (both internally and externally), incredibly efficient and purposeful person. And behind all this - a deep mind, vulnerability, spiritual purity. He instantly penetrates the essence of the most difficult issue and will certainly find the right solution, he is open and easy to communicate, he will always lend a helping hand, provide support.

The formation of the creative personality of Andrei Eshpay, an outstanding composer of our time, the brightest representative of Russian musical culture, was undoubtedly influenced by his parents. In the Eshpaev family, playing music was a favorite pastime.

Father, Yakov Andreevich Eshpay (1890-1963), composer, musicologist-folklorist, choirmaster and teacher. He was a multi-talented person, he drew beautifully and is the author of heartfelt watercolor sketches. Yakov Eshpay is the creator of the first Mari instrumental works for symphony, brass bands, orchestra of folk instruments, for violin and piano, a large number of solo and choral vocal compositions.

Andrei Eshpay's mother, Valentina Konstantinovna (1898-1982), a teacher of Russian language and literature, a connoisseur of native Russian songs, as well as Mari, Chuvash, Mordovian, which she sang in the teacher's choir from her youth.

Andrey Eshpay graduated from a music school, and then from the Gnessin College, piano class with teacher V. Listova. From 1948 to 1953, Eshpay was a student at the Moscow Conservatory, where his teachers were Professor N.Ya. Myaskovsky, then Professor E.K. Golubev and Professor V.V. Safronitsky. In graduate school, Eshpay studied in the class of A.I. Khachaturian.

Mari folklore from the first compositions imperiously captured the imagination of the young composer.

He became a popular composer after writing his now famous works: “Why, why?”, Waltz-romance “In a boring garden”, “Song of friendship”, etc.

A number of Eshpai's compositions have received awards at international festivals.

"Yoshkar-Ola" sl. L.Derbeneva

Penya "Yoshkar-Ola" is dedicated to the composer's hometown. In it, he expressed all his love for the Motherland. The genre is a patriotic song. The texture of the presentation is monophonic. The tonality is E-flat major, there are no deviations and modulations. Piano accompaniment is built on seventh and non-chords. Size 4/4. The playback tempo is andante. The work was written for solo performance. Range - 1.5 octaves: B flat of a small octave - D of the second octave. Features of the work: 1) the melody moves in semitones, seconds, thirds. 2) There are fourth, sixth jumps. 3) the presence of a pentatonic scale. Andrei Yakovlevich knows the melodies of his folk songs so well that he can easily insert the pentatonic scale and other characteristic features.

"Student song" sl. Derbeneva

Song about student life. The composer describes the best years of his life - student years. The song also speaks of friendship - "... it is joyful and fun that friends are waiting in any distance ...".

The pace of performance is allegrovivo. Size 4/4. The key is E-flat major. In all the works of A.Ya. Eshpai's piano accompaniment is based on seventh and non-chords. The song was written to be performed by a choir. The pentatonic scale is common. The total range of voice parts is 2 octaves: for a small octave - mi of the second octave.

"Far and near» sl. Derbeneva

Lyrical love song. The composer in his song expressed the emotions, feelings, experiences that disturbed him at that moment. There is a contradiction in the title of the work, and it is present in the melody. Key in A minor. Size 4/4. Piano dynamics throughout the piece. The nature of the performance is leisurely. The song was written for solo performance. The melody contains jumps by fourth, fifth, octave. Range - 1.5 octaves: for a small octave - up to the second octave. There are many repeated notes in the melody.

"Have a rest" sl. R. Rozhdestvensky

“I’m going ...” (from the movie “Lushka”) sl. L. Derbenev, V. Kotov, M. Plyatskovsky

Size 4/4. Key in G minor. The pace of execution is coming soon. The texture of the presentation is monophonic. The piece begins in forte and ends in pianissimo. Cuplet form. The melody contains jumps to a fourth, a sixth.

Mari composer from the Suksun region

Not every Russian village can boast that one of its inhabitants is a member of the Union of Composers, an honored worker of culture and the creator of the anthem of his republic. But the village of Ivankovo in the Suksunsky district of the Kama region can be rightfully proud of this. The creator of the anthem of the Republic of Mari El, a teacher at the Suksun Children's Art School, Yuri Evdokimov, returned to his small homeland after a thirty-year absence in 1993.

Over the past years, he has done a lot, including working with gifted children in the Yoshkar-Ola special music and art boarding school, in the choir, where he combined the duties of a soloist, choirmaster and composer.

Now Yuri Savvateevich gives all his knowledge, skills and experience to the Suksun children - he teaches them the basics of musical literacy and vocals. Its graduates win vocal competitions, enter music colleges and schools. Despite the fact that Evdokimov lives in a small village, his musical collections are published in Yoshkar-Ola. And the pride of the musician, the children's vocal ensemble "Ural SAM", which he has been leading for 10 years, is known in all the Mari and Tatar villages of the Suksun region.

In February 2003, "Ural SAM" participated in the regional celebration of the national author's song "Peace to your home" and won in the nomination "Development and preservation of the Mari song", performing songs by Yuri Evdokimov himself. The composer strictly monitors the correct performance so that the national Mari features of singing are maintained.

Conclusion

The basis of the Mari population of the Kama region is made up of both late and early settlers. A large number of Mari in the Perm Territory live in the villages of Suksunsky, Chernushinsky, Oktyabrsky district. The Mari population of the Kama region is an integral part of the Eastern Mari. In the festive and family-ritual life of the Mari, song musical culture occupies one of the main places.

Currently in our region:

traditional holidays of the Mari are held,

· Mari folk song groups are being created in the Suksun, Oktyabrsky and Chernushensky districts.

· Yuri Yevdokimov, our fellow countryman from the Suksunsky district, a member of the Union of Composers, an honored worker of culture and the creator of the anthem of the Republic of Mari El, is one of such enthusiasts.

This gives us the right to say that

The Mari musical and song culture is at the stage of revival in the Perm region.

Abstracts

Topic of my research: "Mari musical and song culture".

The relevance of research: lies in the fact that the Mari are one of the oldest ethnic groups of the Perm region. In our college, the peoples of the Perm Territory are constantly studied, so finding and replenishing the song repertoire of the Mari of the course ensembles of the Perm Regional College of Art and Culture is very important today.

Research problem: Lack of repertoire collections of Mari songs in the Perm region.

Object of study: Song material, which revealed the whole history and life of the Mari, who are settling in new Perm lands.

Subject of study: Materials of the folklore expedition of students and teacher Maksimenko O.M. in the Suksunsky district of the Perm Territory, materials collected from various musical sources.

Purpose of the study: Compilation of a methodological manual for students of specialization in folk choral art.

Research hypothesis: The Mari musical and song culture is at the stage of revival in the Perm region.

Research objectives:

· To study, from a historical point of view, the settlement of the territory of the Perm Territory by the Mari.

Find the folk musical material of the Mari and analyze it.

· Get acquainted with the composers of Russia by nationality - the Mari.

· Process the collected material.

Research methods: mixed (theoretical and practical).

In the course work, I considered the topic "Mari musical and song culture" in two directions:

1. Folk songs of the Mari:

o Found in music publications

o Recorded during the expedition in the Suksun region

2. Mari composers.

The main part of the Mari lives on the territory of the Republic of Mari-El, as well as in the territories of the Urals and the Volga region. There are also large areas of settlement of the Mari people in the Kirov, Nizhny Novgorod, Sverdlovsk regions and in the Perm Territory, as well as in the Republics of Bashkortostan, Tatarstan, Udmurtia.

Meadow Mari settled on the left bank of the Volga River, and mountain Mari - on the right bank. The third ethnographic group is the Eastern Mari. It was formed to the east of the river. Vyatka. This group includes the Mari population of Tatarstan, Bashkortostan, Udmurtia, the Perm Territory and the Sverdlovsk Region. The Kama Mari have best preserved their national culture and way of life.

In the Perm Regional College of Art and Culture, in the specialization of folk choral art, there is a tradition to travel all over the Perm Territory on an expedition. In 2007, a group of students led by Maksimenko Olga Mikhailovna went on an expedition to the Suksun region. From there they brought many Mari songs, in my term paper I studied and analyzed these songs.

The musical and song culture of the Mari is very peculiar, it traces Finno-Ugric roots, the influence of Turkic music, and the influence of Russian song. Lyrical song has been the main genre of musical folklore since ancient times. At its core, it is monophonic, and only in modern songwriting is the emergence of polyphony observed.

Having analyzed the songs of the Maris of the Perm Territory, I came to the conclusion that they are different in terms of modal, rhythmic relations, in form, range, etc. Most of the Mari songs are based on the non-semitone pentatonic scale. Permian songs are characterized by a combination of pentatonic scales with other diatonic modes. Most melodies include fourth-quint, sixth intonations without filling. A characteristic feature of the drawn-out Mari songs are irregularly variable meters; for dance melodies, a clear rhythm and a constant time signature are common.

I studied the work of Mari composers:

· Klyuchnikova-Palantaya

Iskandarova

Smirnova

Evdokimov - our countryman

· A.Ya.Eshpay. I analyzed his works. Andrei Yakovlevich knows the melodies of his folk songs so well that he can easily insert the pentatonic scale and other characteristic features of Mari songs into his works.

In the Perm Territory in 1989, 6.6 thousand Mari lived, by 2002 their number was 5.6 thousand people.

The basis of the Mari population of the Kama region is made up of both late and early settlers. A large number of Mari in the Perm Territory live in the villages of Suksunsky, Chernushinsky, Oktyabrsky district. In the festive and family-ritual life of the Mari, song musical culture occupies one of the main places.

At present, traditional Mari holidays are held in our region, groups of Mari folk songs are being created in the Suksun, Oktyabrsky and Chernushensky districts.

For a long time without their own written language, the Chuvash people expressed their thoughts and aspirations, their observation and wisdom, their experiences in oral poetry.

The most common genre was folk songs. Chuvash songs accompanied almost all labor processes, from household chores (spinning, weaving, etc.) to agricultural work. Singing songs was a favorite entertainment during the holidays, especially among young people. In the spring, young people led round dances with games, dances, songs, either smooth, unhurried, subordinating the rhythm of movement, or fast, swift during dances and games.

Many songs are associated with certain rituals and holidays. There were songs of thanksgiving and pleading, with them the Chuvashs turned to various forces of nature, on which, in their opinion, well-being depended, or to their ancestors, who also allegedly had the opportunity to help their relatives.

After spring field work, youth ritual games began, known as vaya, tapa, or uyav, which continued until the rise of fallows and haymaking.

Among the ritual songs, many are associated with the wedding cycle. Here is the “lament of the bride”, full of chanting of girlhood and horror before the heavy bondage of a married woman, songs of bridesmaids and groomsmen, as well as representatives of the older generation with wishes for the new family of all kinds of blessings.

Drinking songs were widely used, which usually sang ancient customs, the friendship of relatives * the sanctity of labor on earth and at the same time showed dissatisfaction with the existing social order.

The lyrical songs are touching in content and sincere in performance. Their usual themes are: the experiences of a young man or a girl yearning for her beloved, a woman's lamentations for a difficult fate in the family, etc.

Later, already in the capitalist period, a satirical song such as a ditty, the so-called Sormovska, which was brought by otkhodniks, spread. In these short songs, the love interests of young people were jokingly depicted, but more often they sharply and maliciously ridiculed the shortcomings of certain members of society, and often of its entire strata or classes.

In our time, old songs are mostly preserved only in the memory of the older generation; their place was taken by new songs glorifying free labor and the heroic deeds of the Soviet people. Chastushkas are very popular among workers and collective farmers, often composed by themselves on local exciting topics.

The genre of fairy tales is significantly developed among the Chuvash. They are sometimes intertwined with folk legends about various historical figures, whose images are strongly poeticized. There are many plots in common with fairy tales of other peoples. Especially often in Chuvash fairy tales, a beneficial connection with the land is emphasized and work on it is exalted.

As in the fairy tales of other peoples, the main character of the Chuvash is a peasant son, who experiences a series of adventures and finally triumphs over dark forces. The hero usually gets a better share not only for himself, but also for the people. In the folklore of the Chuvash there are many sayings, riddles, proverbs. The themes of all these types of folk art are closely related to everyday life.

The initiator of literature in the Chuvash language, mostly translated from Russian, was the creator of the Chuvash letter I. Ya. Yakovlev, who wrote short stories from the life of the Chuvash. Later, the education of the Chuvash intelligentsia led to the emergence of the first Chuvash writers and poets. Among them, we can mention I. N. Yurkin, G. T. Timofeev, K. V. Ivanov, F. P. Pavlov. True, it was difficult for the first Chuvash writers to print their works, but they were usually copied by literate youth, and in this form they went to the masses.

Shortly before the revolution of 1905-1907. Chuvash literature left the handwritten stage and began to spread much more widely. In 1906, the first Chuvash newspaper "Khypar" ("News") was published, which also published works of art. It was published during 1906 and 1907. Despite the reaction that came after the revolutionary upsurge, the number of Chuvash writers increased.

The largest of them was K. V. Ivanov (1880-1915) - a poet, publicist, satirist, translator. He wrote in his native language and did much to enrich it. Among his works, the poem "Narspi" with a dramatic plot from folk life was especially famous. Satirical writers who revealed social contradictions in the Chuvash society were M. F. Akimov, T. S. Semenov-Taer, N. I. Polorussov-Shelebi, M. F. Fedorov, who wrote the beautiful poem "Arduri" ), full of pictures of social injustice and the bleak life of the poor.

The October Revolution opened a wide road for Chuvash literature, as a result of which the Chuvash people got the opportunity to fully develop their strength and abilities. If earlier poetry dominated Chuvash creativity, now writers began to master prose as well, creating short stories, and then larger works. Great help in the development of Chuvash literature was provided by Russian writers, especially A. M. Gorky, who was directly connected with the Chuvash writers.

Literature in the native language, closely connected with the practical life of the people, greatly contributed to raising the cultural level of the working masses and educating them in the spirit of internationalism. Among the prose works of recent years, novels from the everyday life of the Chuvash stand out noticeably: “The Village in the Willows” by K. Turkhan, “Near Akramov” by F. Uyar, “The Thirties” by S. Aslan, the novels “On the Buinsky Trakt” by A. Talvir, “Wild Winds » M. Ukhsay and others. Of the most popular poetry are the poems “Pass” and “Grandfather Kelbuk” by Y. Ukhsay, books of poems “Song of the Heart”, “Oak forests sing” and others by P. Khuzangaya and many poems by young poets.

The works of playwrights A. Kalgan "The Wave of October", A. Eskhel "Three Weddings", V. Alager, N. Terentyev and others are successfully staged in the theaters of the Chuvash ASSR. Among children's and youth books, the most popular are the works of L. Agakov, V. Davydov, N. Evstafiev.

The best works of Chuvash writers and poets have been translated into Russian and other languages of the peoples of the USSR; at the same time, many writers and translators acquaint the Chuvash with works of Russian and foreign literature.

Folklore: