Name of the instrumental ensemble. Children's instrumental groups

Behind every success, every event in the life of a team there are specific people, professionals - leaders. As practice shows, the role of the leader of an amateur team can hardly be overestimated. Most of the participants who join amateur groups do not have the skills to play musical instruments. Everything has to start from scratch, from the very basics - from getting to know the instrument to directly playing the notes.

This is titanic work for both students and teachers. To teach others to play an instrument, a leader must himself have thorough training in the field of instrumental culture and pay serious attention to the instrument. The current demands of audiences should become an incentive for amateur artists, including small ones, for better training and rehearsal work.

Ensemble "Carnelian", soloist Polina Kiseleva

The calling card of any instrumental ensemble is its repertoire. It reflects what values ​​occupy an honorable place in the activities of the instrumental group. One of the criteria when choosing works for concert performance is its reality, compliance with the technical and artistic capabilities of the group. Working on serious works sometimes poses insoluble creative problems. But work on the elementary repertoire, as a rule, does not give productive results to the team members.

The simplified educational repertoire does not contain new elements for developing the playing skills of amateurs, cultivating their musical ear and enriching artistic ideas. The source for choosing songs can be our unique Russian golden song fund. Indeed, in the pursuit of modern “fresh” repertoire, long-known songs that have been tested by time and loved by the people are often forgotten. Moreover, in contrast to pop hits and songs marked “author unknown,” we must promote, through amateur instrumental performance, the best modern instrumental compositions and the best examples of our song classics.

The repertoire of the ensembles “Bayan Buttons”, “Garmoshechka”, “Carnelian” includes not only classical educational works, but also those aimed at performances in concerts, competitions and festivals. You won't get far with educational material. Without concert items, it is impossible to achieve heights at shows and competitions.

Nothing is invested in our ensembles. In response to a recent request to help us purchase tools, one official half-jokingly, half-seriously replied: “Earn money!” We are running on empty. All tools are obtained in the most unimaginable ways. We don’t have concert costumes, we don’t have hothouse conditions. But we perform on stage and successfully compete with similar groups.
The ensemble of guitarists “Serdolik”, created several months ago, received a certificate as the best instrumental group at the regional festival “Rainbow of Children's Talents”, at the same festival the ensemble of accordion players “Bayan Buttons” was recognized as the best ensemble of folk instruments.

Our young musicians are always on the move, in rehearsals and concerts, in search of new songs - this unites the team, fills the life of each of its members with creativity, interesting concerns, and joyful impressions. Meanwhile, almost all of them are good students and have many other hobbies.
Just yesterday, March 28, the ensembles “Carnelian”, “Garmoshechka” and “Bayan Buttons” successfully performed at the reporting concert of our House of Culture.

Culture must be accessible to everyone. And we strive for this. Groups like ours work in many regions on a paid basis. And parents shell out a lot of money for their child to learn to play various musical instruments. But we are not at that level. We give everyone the opportunity to try their hand at creativity.

To this day, vocal instrumental ensembles (VIAs) remain truly popular. They are professional as well as amateur musical groups originally from the USSR. The ensembles flourished in the 60s - 80s of the last century. The term was previously perceived as a synonym for the concept of “musical group”, so it was used even in relation to foreign artists. However, subsequently VIA began to be associated only with Soviet groups performing in such genres as pop, folk, and rock.

Features of the history of VIA

Groups began to appear in the USSR in the 60s of the last century. Soviet youth showed particular respect and reverence for the popular trends of Western music, as a result of which local groups sought to become analogues of Western celebrities, but at the same time, adjustments to ideology were evident in their creativity. Due to the fact that representatives of the musical world could not be called rock groups, creative people went down in history as Soviet vocal and instrumental ensembles. VIA could be created at various cultural institutions, including local philharmonic societies, theaters, and concert associations. Among the representatives of the musical world who managed to achieve a high level of popularity, it should be noted the associations “Avangard”, “Singing Guitars”, “Merry Guys”.

Compound

In most cases, vocal-instrumental ensembles consisted of at least six people. But sometimes the number of participants reached ten and even exceeded this figure. The team consisted of several vocalists, multi-instrumentalists, artistic and musical directors. The participants changed, with different songs performed by different soloists. It should be noted that vocal and instrumental ensembles of the USSR were always created only from professionals with a very high level of skill, which contributed to the successful development of the groups.

What were the VIA like?

To achieve popularity, groups had to strive to please their listeners and admirers. This could only be achieved if there was a special approach to the performance of various songs. It was assumed that a set of musical instruments would be used, including an electric guitar, a drum set, keyboards, and sound reinforcement equipment. In most cases, a brass section was additionally used, which determined the closeness of the VIA to folklore sources. Among such well-known groups are “Ariel”, “Kobza”, “Pesnyary”. During the Soviet era, unfortunately, vocal and instrumental ensembles faced numerous restrictions regarding their appearance and demeanor on stage. The demands were explained by ideological considerations. The artists had to choose jackets or folk clothes, or military uniforms. Active activity on stage was prohibited, so the members of the groups stood almost motionless. VIA's repertoire included a variety of songs in the following styles: folk, folk, disco, rock. At the same time, all vocal-instrumental ensembles had to comply with certain rules that were unchanged. It fit the bill

Conclusion

Now you know what is meant by the term “vocal instrumental ensemble”. The name “Earthlings” is still remembered by millions of people. Also among the most famous groups should be mentioned “Ariel”, “Pesnyary”, “Red Poppies”, “Jolly Fellows”. In the 21st century, you can get acquainted with the work of the VIA and form a personal impression about them.

In groups.

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✪ Cover "Breath-Nautilus Pompilius". VOCAL-INSTRUMENTAL ENSEMBLE LESSON.

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Appearance

The term “vocal-instrumental ensemble,” as well as the phenomenon itself denoted by this term, appeared in the USSR in the 1960s, in the wake of Soviet youth’s fascination with popular movements of Western music. It was then that musical groups began to be created in the USSR, designed to become their own analogues (of course, adjusted for ideology) of Western rock groups. Since it was not allowed to call them rock groups for ideological reasons (rock music was declared “a product of decaying Western culture”), the name “vocal-instrumental ensemble”, or, for short, “VIA”, was coined for such groups.

VIAs were created at various cultural institutions: local philharmonic societies, theaters, concert associations. The official status separated VIA from the “author’s song” of the same period, which fell under the category of amateur performances. In addition to professional VIA, there were similar amateur groups.

Peculiarities

A typical VIA consisted of 6-10 or more people, which usually included several vocalists and multi-instrumentalists, headed by an artistic director, who may or may not have been among the performers, as well as a musical director. Participants changed, and different songs could be performed by different soloists. If in rock groups the lead singer usually played some instrument at the same time, then in VIA the lead singer much more often only sang. Most of the VIA musicians were professionals; the level of performing skills was quite high.

VIA used the usual set of instruments for pop and rock groups: electric guitars, a drum set, various versions of electronic keyboards, such as electric organs and synthesizers, and sound reinforcement equipment. In addition to this set, as a rule, there was a brass section; various folk instruments could also be used, especially in VIA with a folk slant (“Pesnyary”, “Ariel”, “Kobza”, “Yalla”).

A whole set of restrictions dictated by ideological considerations were imposed on the appearance of VIA artists and their behavior on stage. Typical concert clothing was ordinary jacket suits, and the VIA, specializing in folk themes, had various options for clothing in the “folk style”; the ensemble could perform songs on military-patriotic themes in military uniform (“Cascade”). Active movement on the stage was not encouraged; as a rule, musicians and soloists stood almost motionless throughout the entire performance. Of course, any pronounced fatal attributes, such as unusual hairstyles, tattoos, riveted leather clothing, metal accessories and the like, were certainly excluded.

Recordings of professional VIAs were published by the Soviet record monopoly, the All-Union Record Company "Melodiya", and concerts were organized by territorial philharmonic societies and concert associations: Soyuzkontsert, Moskontsert, Lenkontsert, Roskontsert, Goskontsert, republican and regional philharmonic societies.

Sometimes VIA acted as an accompaniment to a famous solo performer, such as: Yuri Antonov and the groups “Araks” and “Airbus”, Alla Pugacheva and VIA “Retsital”, Sofia Rotaru and VIA “Chervona Ruta”, Valery Obodzinsky and VIA “True Friends” ", Vladimir Migulya and the group "Zemlyane", Lev Leshchenko and "Spectrum".

Repertoire

The style of music performed by VIA is varied. It included both folk and folk songs (“Pesnyary”, “Ariel”), and disco (“Red Poppies”, “Hello, Song”), rock music (“Earthlings”, “Flowers”) and synth pop (“Merry Guys”). The sound of VIA is considered as a specific genre in Soviet popular music. It should be noted that it was VIA that formed and prepared the musical layer for the development of big beat and pop music, and formed the audience for the next musical direction in the USSR - rock music. However, in the performance of music, pronounced rock elements, be it long instrumental solos or overly loud voices of the artists, were not recommended. Modern rhythms and the latest trends were not welcomed - new wave, etc. Therefore, VIA's songs were, as a rule, no more than 3-4 minutes long and without serious improvisation.

The lyrics of VIA songs contained patriotic and military-patriotic motifs, love lyrics (in an extremely “Platonized” version), purely Soviet motifs of the romance of labor, there were joke songs, romances, folk songs, songs on topical topics (like the construction of the BAM). Basically, the songs carried an emphatically positive charge, glorifying the Soviet way of life, talking about happiness, joy, labor achievements and military exploits. Criticism, protest, the theme of the conflict between man and society were allowed only in “accusatory” songs about the problems of the capitalist world. Focusing on the problems of young people was also discouraged.

A prominent place in the repertoire of many VIA (“Jolly Fellows”, “Singing Guitars”) was occupied by cover versions of songs by Western groups (with lyrics in Russian, often extremely far from the original in meaning, but, as a rule, phonetically similar to it). In recordings and in performance programs submitted for approval, cover versions were sometimes disguised: the names were changed, the music could be attributed to members of the Composers' Union, band members or non-existent authors, the song was called "American folk" and so on. Also, VIA often used fragments of Western songs in their own works, presenting them as their own music. Original Western songs could also be performed at the concerts.

Relationship between VIA and rock groups

The relationship between VIA and amateur rock bands of the 1970s and early 1980s was quite complex and multifaceted. On the one hand, there was a certain antagonism associated with the difference in status and recognition, on the other hand, musicians often moved from VIA to groups and back, and some of the VIA were amateur groups that were “legalized” in one way or another. Thus, the aforementioned Araks group acquired official status three years after its creation, in 1974, when it joined the troupe of the Lenkom Theater. The group “Earthlings” also started out as an underground rock band and only then changed their status by signing a contract with the Kemerovo Philharmonic. The groups “Integral”, “Dialogue”, “Autograph”, “Carnival”, “Dynamic”, “Time Machine” had official status (from the end of 1979 to the second half of the 1980s, when they worked under the auspices of the state association “Rosconcert” ).

Rock groups differed from VIA not only in their modus vivendi (rock discourse is exclusively author's), but also by the genre features of the music they perform, arising from the latter, turning VIA into an entertaining and emphatically polystylistic musical variety show .

Popularity, rise and subsequent history

VIA as a separate phenomenon of Soviet musical culture existed for a total of just over 20 years. During the 1960s - 1970s and early 1980s, they were extremely popular, especially among young people. The most famous ensembles gave several concerts a day throughout the year, the songs they performed were constantly broadcast on radio and television, and numerous well-selling albums were released. For example, in four years (1970-1974), only the circulation of the first EP of the ensemble “Veselye Rebyata” was sold in the amount of 15,975,000 copies, and the total circulation of the album “We, the Young” (1975-1979) was reissued several times by the VIA “Gems” reached 2.5 million copies. Concert organizations received large profits from the most popular ensembles. The VIA worked very intensively, for example, the annual plan approved by the Mosconcert for the ensemble “Veselye Rebyata” amounted to up to 500 concerts annually since 1970. . The popularity of VIA was so high that on tour the group could work in a medium-sized city for a week, giving two concerts every day, three concerts on weekends, and each time drawing a full house.

The general crisis of vocal and instrumental ensembles in the USSR began already with the 1980 Olympics, when rock music briefly emerged from the shadows and the attitude towards some part of the Western stage was softened. Strict Soviet censorship was doing its job. The repertoire of many Soviet ensembles became more and more ordinary, gray, and ordinary, which could not but affect the tastes of listeners. The VIA audience, mostly young people, became increasingly interested in rock music, disco, “new wave”, and electronic music. The ensembles began to lose their former popularity. For this and other reasons, in the early 80s, some VIAs disbanded, some musicians emigrated abroad, others tried to create new ensembles and groups, trying to follow a more modern repertoire and new musical directions. Many VIA began to actively perform covers of Western performers, thus trying to attract the audience again. The years 1983-85, a time of active struggle by the authorities against rock music and Western pop music in the USSR, gave vocal and instrumental ensembles a second chance, as a result of which many VIAs changed their repertoire, and their performance and sound became more in line with the spirit of the times.

Many VIA ceased to exist in the late 1980s. This was facilitated by a number of circumstances, primarily caused by Gorbachev’s perestroika, the final exit from the underground of rock music and the abolition of the previous mechanisms for regulating the activities of pop performers, restrictions on the repertoire and strict criteria for the professional selection of musicians. The improvement in the quality of musical equipment and the emergence of cheap imported synthesizers and samplers, which make it possible to produce high-quality pop music without the involvement of a large staff of musicians, also played a role. And the repertoire of most VIAs, consisting mainly of positive hits and “ideologically consistent” compositions, has become much less in demand in the changed political conditions.

With the collapse of the USSR, many groups, unable to adapt to new trends that came from abroad, disbanded, although some managed to survive, transforming into groups of a wide variety of musical orientations, from pop music to hard rock. A significant part of the musicians of the disbanded VIA were able to remain on the stage by joining new groups or starting a solo career. Many modern Russian pop music figures are mainly former members of VIA in the 80s.

However, a number of old, well-known VIAs continue to exist to this day, albeit with a greatly changed composition. Among them are “Earthlings”, “Pesnyary”, “Flowers”, “Ariel”. Some well-known VIAs (for example, “Singing Guitars” and “Gems”) were recreated in the second half of the 1990s, in the wake of the increasing popularity of music from Soviet times. These groups record remakes of their hits and perform concerts where the most popular part of their old repertoire is usually performed. Some VIAs (“Earthlings”, “Flowers”, “Gems”, “Pesnyary”) also perform new songs that are in no way inferior to their famous hits. In some cases (for example, in the case of VIA “Pesnyary”, “Leisya, song”, “Blue Bird”, “Earthlings”), several compositions arose at once, claiming the same name and performing the same repertoire. Today, vocal and instrumental ensembles are aimed primarily at middle-aged and older audiences, conveying to them an atmosphere of nostalgia for the times of youth and romance.

The most famous VIA

Vocal and instrumental ensemble

Vocal and instrumental ensemble(abbreviated VIA) - the official name of state-recognized professional and amateur musical groups in the Soviet Union in 1966-1986. The term “VIA” in Soviet times was synonymous with the term “musical group” (it could even be applied to a foreign group), but over time it became associated specifically with Soviet rock, pop and folk groups.

Appearance

The term “vocal-instrumental ensemble,” as well as the phenomenon itself denoted by this term, appeared in the USSR in the 1960s, in the wake of the fascination of Soviet youth with popular movements of Western music. It was then that musical groups began to be created in the USSR, designed to become their own analogues (of course, adjusted for ideology) of Western rock groups. Since it was not allowed to call them “rock groups” for ideological reasons (it was officially believed that rock music was “a product of decaying Western culture”), the name “vocal-instrumental ensemble”, or, for short, “VIA”, was coined for such groups. .

VIAs were created under certain already existing creative associations: local philharmonic societies, theaters, concert associations. The official status separated VIA from the “author’s song” of the same period, which fell under the category of amateur performances. In addition to professional VIA, there were similar amateur groups.

Peculiarities

A typical VIA consisted of 6-10 or more people, which usually included several vocalists and multi-instrumentalists, headed by an artistic director who may or may not have been among the performers. Participants changed, and different songs could be performed by different soloists. If in rock groups the lead singer usually played some instrument at the same time, then in VIA the lead singer much more often only sang. Most of the VIA musicians were professionals; the level of performing skills was quite high.

VIA used the usual set of instruments for pop and rock groups: electric guitars, a drum set, various versions of electronic keyboards, such as electric organs and synthesizers, and sound reinforcement equipment. In addition to this set, as a rule, there was a brass section; various folk instruments could also be used, especially in VIA with a folk bias.

A whole set of restrictions dictated by ideological considerations were imposed on the appearance of VIA artists and their behavior on stage. Typical concert clothing was ordinary jacket suits, and the VIA, specializing in folk themes, had various options for clothing in the “folk style”; the ensemble could perform songs on military-patriotic themes in military uniform. Active movement on the stage was not encouraged; as a rule, the musicians and the soloist stood almost motionless throughout the entire performance. Of course, any distinctly “fatal” attributes, such as unusual hairstyles, tattoos, riveted leather clothing, metal accessories, etc., were certainly excluded.

Recordings of professional VIAs were published by the Soviet record monopoly, the state company Melodiya, and concerts were organized by territorial philharmonic societies and concert associations: Mosconcert, Lenconcert, Rosconcert, State Concert, Republican and regional philharmonic societies.

Sometimes VIA acted as an accompanying composition for a famous solo artist, such as: Yuri Antonov and the groups “Araks” and “Airbus”, Alla Pugacheva and VIA “Recital”, Sofia Rotaru and VIA “Chervona Ruta”, Valery Obodzinsky and VIA “True Friends” "

Repertoire

Popularity, rise and disappearance

VIA as a separate phenomenon of Soviet musical culture existed for a total of just over 20 years. During the 1960s - 1970s and early 1980s, they were extremely popular, especially among young people. The most famous ensembles gave several concerts a day throughout the year, the songs they performed were constantly broadcast on radio and television, and numerous well-selling albums were released. For example: in four years (1970-1974), only the circulation of the first EP of the ensemble “Jolly Fellows” was sold in the amount 15 million 975 thousand copies, and the circulation of the album “We, the Young” (1975-1979) reissued several times by VIA “Gems” reached 2.5 million copies. Concert organizations received large profits from the most popular ensembles, therefore, for example, the annual plan approved by the Mosconcert for the ensemble Jolly Fellows amounted to up to 500 concerts annually since 1970.

Most VIA ceased to exist in the late 1980s. This was facilitated by a number of circumstances, primarily the emergence of rock music from the underground and the abolition of mechanisms for regulating the activities of pop performers, restrictions on the repertoire and strict criteria for the professional selection of musicians. The improvement in the quality of musical equipment and the emergence of cheap synthesizers and samplers, which make it possible to produce high-quality pop music without the involvement of a large staff of musicians, also played a role. And the repertoire of most VIAs, consisting of positive hits and “ideologically consistent” compositions, has become much less in demand in the new political conditions.

Most of the groups disbanded, although some managed to survive, transforming into groups of a wide variety of musical orientations, from pop music to hard rock. A significant part of the musicians of the disbanded VIA remained on the stage, joining new groups or starting a solo career. Many modern Russian pop music figures are former VIA musicians of the 80s.

A number of old, well-known VIAs continue to exist to this day, although with greatly changed composition. Among them are “Jolly Guys”, “Earthlings”, “Pesnyary”, “Flowers”. Some famous VIAs (for example, “Singing Guitars” and “Gems”) were recreated in the second half of the 1990s, in the wake of the increasing popularity of music of the 1960s and 1970s. They record remakes of their hits and perform concerts, where they usually perform the most popular part of the old repertoire. Some VIA ("Gems", "Pesnyary", "Earthlings", "Yalla", "Blue Bird", "Leisya, song", "Hello, song", "Kobza", "Krayani", "Syabry") perform and new songs that are not inferior to their famous hits. In some cases, for example, in the VIA "Pesnyary", several compositions arose at once, claiming the same name and performing the same repertoire.

The most famous VIA

QUOTES ABOUT MUSIC

• “The beating of the heart is the first origin of music...”
• “Of the pleasures of life, music is second only to love, but love is also a melody” A. S. PUSHKIN
• “Music should strike fire from a person’s soul!” LUDWIG VAN BEETHOVEN
• “There is nothing special about music. You just have to hit the right keys at the right time - and the instrument plays itself." JOHANN SEBASTIAN BACH
• “Words sometimes need music, but music needs nothing.” EDWARD GRIEG
• “So only some people hear?
  -Only those who listen..." AUGUST RUSH
• “You were talking about the meaning... of our... life... the selflessness of art... For example, music... It is least of all connected with reality, and if it is connected, it is unprincipled, mechanical, an empty sound, without associations. And yet music somehow miraculously penetrates into the very soul! What resonates within us in response to noise brought to harmony? And turns it into a source of high pleasure for us... And unites... And shocks! What is all this for? And, most importantly, to whom? You answer: no one. And... And for nothing, just like that. Unselfishly. No... hardly... After all, everything, ultimately, has its own meaning... Both meaning and reason..." QUOTE FROM THE MOVIE "STALKER"
• “Without music, life would be unfair” INSCRIPTION ON THE FENCE. 2007
• "Hit: A Song That Makes You Think You Can Sing" ARNOLD GLASGOW
• “- What kind of cello are you? MSTISLAV ROSTROPOVICH:
  “I am the second, there are many first”
• “What is required of a musician is not a sermon, but a confession. People find in it something consonant with themselves” OLGA AREFIEVA
• “That’s what the song is for, so it’s not from this world” VADIM MESYATS
• “There is no contradiction between serious art and popular art, real art is always serious and always popular” JOANNA MCGREGOR, British pianist
• “An artist needs three things: praise, praise and more praise.” SERGEY RACHMANINOV
• “If no one sheds a tear at least sometimes, then unpleasant questions will arise: what are we actually doing here?” ALEXANDER VEDERNIKOV, musical director of the Bolshoi Theater.
• “What is too stupid to be said can always be sung” VOLTAIRE
• “Sound is a form of continuation of silence...” JOSEPH BRODSKY
• “He was an excellent artist, a good musician, an average pianist, and a kind person.” HEINRICH NEUHAUS joked about himself
• “Great singers of the past often disappeared from a hard life, while modern ones disappear from a good life” BORIS BARABANOV
• “Writing about music is like dancing about architecture” FRANK ZAPPA

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