Bashkir musical folklore. Bashkir oral and poetic creativity

Bashkir folklore was created and passed down orally over generations over the centuries. Its creators and bearers were folk singers and musicians, sesen, yirau, etc. The themes of Bashkir folklore were the views of the ancient Bashkirs on nature, moral ideals, life and aspirations. Folklore was the source of their knowledge. The features of folklore include its oral transmission, improvisational and collective performance, and multivariate nature. The genres of Bashkir folklore are fairy tale, epic, kulyamas, fable, lakap, fable, kulyamas-riddle, boring fairy tale, satire, parable, saying, proverb, riddle, nasikhat, etc. Based on their involvement in the social and everyday activities of people, Bashkir folklore is divided into ritual , children's, etc. The Bashkirs have a rich folklore of songs. Dance, comic, and game songs accompanied the festivities and entertainment. The ditty, baits, became widespread. Many bayits were dedicated to tragic events. This is the “Sak-Sok” bayit, which talks about children cursed by their parents. Small genres of folklore are common, such as chants, sentences, riddles, proverbs, sayings, and omens. Among the Bashkirs' children's folklore, play rhymes, teasers, and sentences are common. One of the oldest genres of Bashkir folklore is considered to be Kubair epics, which can be plot-based or plotless. The most ancient kubairs are the world famous “Ural-batyr”, as well as “Akbuzat”. According to their themes, Kubair epics are divided into heroic and everyday. The Kubair-odes praise the beauty of the native land, which is personified in the images of Ural-Tau, Yaik and Agidel, and glorify the exploits of the legendary batyrs (Muradym, Akshan, Sukan, Sura, Salavat, etc.). Oral folk prose is represented by akiyats (fairy tales), legends, rivayat (traditions), khurafati hikaya-bylichki, khetire (tales and oral stories), as well as kulyamasy-anecdotes. Bashkir fairy tales as an independent type of folk tales. prose (karkhuz) includes tales about animals, magic and everyday life, which in turn have intra-genre varieties. Legends and traditions are based on etiology and are presented as narrations of true stories, although the former are based on fantastic fiction, the latter are stories of a realistic nature. The palette of folklore associated with family and everyday life, in particular, wedding rites, which among the Bashkirs is a multi-stage theatrical action, is distinguished by a great variety and abundance of colors: the first stage - bishek tui (lullaby wedding) is held when the girl and boy whom the parents want see in the future as a wife and husband, reach forty days of age; the second khyrgatuy (wedding of earrings) is held when the “groom” is able to independently mount a horse and control it, and the “bride” can carry water (in this case, the boy gives the betrothed earrings). After these symbolic weddings and the young people reach adulthood, a real wedding is arranged - nikah tuyi (marriage wedding). Until the groom pays the mahar (kalym), it is forbidden to take the bride away, to show his face to his father-in-law and mother-in-law, so he comes to her late in the evening and only on the appointed days. Before seeing off the bride to the groom's house, a sengluu is arranged: the bride's friends and the young wives of her older brothers lament on her behalf, expressing their attitude towards their parents, relatives, groom and mother-in-law. In Bashkir folklore, dual faith can be traced - a combination of pagan customs with the canons of Islam. The influence of Islam was especially strong in funeral rites. In modern conditions, four trends are visible in Bashkir folklore: the existence of traditional genres; revival of the ancient song repertoire and creativity of saesengs; growing interest in national rituals and folk holidays; development of amateur performances.

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Introduction

Bashkir oral and poetic creativity is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the Bashkir people until the beginning of the 20th century, extensive in scope and diverse in genres. His nationally original genres vividly reflected the rich inner world, history and life, dreams and aspirations of the Bashkir people. The best epic genres were created by masters of improvised artistic expression, saesengs.

The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development.

The purpose of this work is to analyze Bashkir oral poetic creativity as the most important element of Bashkir folk art, analyze its main genres, identify the connection between literature and oral poetic creativity and consider the creativity of sesen (using the example of Buranbai Yarkeysesen and Ishmuhammetsesen).

1. BASHKIR ORAL POETIC CREATIVITY. CONNECTION OF LITERATURE WITH ESSENTIAL POETIC CREATIVITY

Bashkir oral and poetic creativity, which in fact was the main form of manifestation of the spiritual culture and ideological and aesthetic views of the people until the beginning of the 20th century, is vast in scope and diverse in genres. In its nationally original genres - in heroic poems (kubairs) and romantic tales, historical songs and baits, fairy tales and legends, ritual poetry and takmaks, proverbs and sayings - the rich inner world, history and life, dreams and aspirations of the Bashkir people were vividly reflected .

The best epic genres were created by nameless masters of improvised artistic expression, saesengs. In their work, the Kubair genre achieved particularly great perfection and unique national poetic originality.

Kubair (kobayir) is the main genre form and folk type of verse of Bashkir heroic tales. Kubairs are typologically close and related, for example, to Russian epics, Ukrainian dumas, Kazakh zhirs, Yakut olonkhos, Caucasian sarts. Professor A.N. Kireev explains the word “kubair” as “a good, glorious song,” i.e. song of worship. And indeed, the main ideological and thematic content of the kubairs is associated with the glorification of the Motherland, native Uraltau, the people and its glorious warriors. The deep social patriotic content of the kubairs, their emotional strength, the words of the sesen about protecting good and castigating evil, their call to the people to defend their native land in battle with enemies gave this epic genre the greatness and power of the mandate-cry of the Motherland, poetic instructions and behests of the ancestors.

In kubairs, perhaps more than in any other genre of oral and poetic creativity of the Bashkirs, the art of eloquence and folk wisdom are revealed. In the old days, yiyyns (public meetings), large celebrations and various holidays were places to test the resourcefulness and skill of the saesens. They often spoke on behalf of the people - tribe, clan, expressed their thoughts and aspirations, the yiyyns unusually increased the social importance of the Kubairs. On their basis, a unique, as if independent, genre of eitesh arose, as did the Kazakh aitys, a poetic competition of sesen.

The deep content of Kubair is achieved by a high and at the same time simple poetic form, its aphoristic sound. Unlike a song, where a semantic connection between the two halves of a stanza is not necessary, in kubair, as a rule, every poetic image, every comparison, parallelism or trope serves as a means of expressing the main idea and forms an organic part of the overall poetic outline. Phenomena or objects are depicted in it carefully, in detail, and therefore a Kubair stanza, even if it consists of one sentence, can include from two to twenty-four or more lines. The smoothness and uniformity of the rhythm, the obligatory rhyming of the lines ensures ease of perception.

One of the peculiarities of Kubairs is the fact that they often use proverbs, sayings, and popular expressions. Some consist almost entirely of aphoristic sayings. The most significant and original heroic tales of the Kubairs are “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khyukhylu”, “Alpamysha and Barsynkhylu”, “Kuzykurpyas and Mayankhylu”, “Kusyakbiy”.

One of the early monuments of the Bashkir epic is the heroic poem about the Ural Batyr (“Ural Batyr”), which expresses the idea of the victory of life over death. The Ural Batyr defeated Death, sacrificing his life in the process: he refused to drink the living water he had obtained with great difficulty and sprinkled it around him to immortalize nature. People built a high mound over his grave, from which, as the poem says, the Ural Mountains were formed, and the remains of the Ural Batyr were preserved in the form of various precious stones, gold, silver and iron.

The thematic conclusion of the poem about the Ural batyr is the legend “Akbuzat”. In the legends “Kuzykurpyas and Mayankhylu”, “Aldar and Zukhra”, “Kusyakbiy”, in contrast to the mythological epic, life, customs, beliefs, traditions of nomadic farming, festivals, and sports competitions are actually depicted. They are filled with deep lyricism, motives of love and fidelity, devotion to each other. In the evolution of the epic traditions of Bashkir folklore, especially in the 18th - 19th centuries, there is a close interweaving and interpenetration of kubair and historical songs and baits. Bashkir baits are usually dedicated to socio-historical events of heroic-tragic or highly dramatic content. For example, in the bait about Kinzakeevo, it is told about the burning of the village of Kinzakeevo (now the village of Petrovskoye, Ishimbay district) by punitive forces. “Bait about the Earth” depicts the invasion of robber royal officials into the Bashkir lands. The artistic expressive properties of baits are determined by the combination of features in them that come from song creativity and written poetry. The simultaneous creation and existence of songs and baits about the same important historical events later turned into a wonderful tradition of Bashkir oral poetic creativity.

Approximately in the XVIII - XIX centuries. An extremely rich and widespread form of folk poetry was finally formed - the song and musical classics of Bashkir folklore. There are a variety of themes and genre forms in this repertoire: from historical classical songs about the Motherland and batyrs (“Ural”, “Salavat”, “Azamat”, “Kakhymtyure”, “Kutuzov”, “Caravanserai”, etc.), canton commanders (“Sibaikanton”, “Kuluykanton”, “Kagarmankanton”), about exiles (kaskyn yyrzary) - such as “Buranbai”, “Biish” to everyday, ritual songs (senley, telek yiry) and excellent songs about women’s lot (“Tashtugai” , “Zulhizya”, “Shaura”, “Gilmiyaza”, etc.).

Among the traditional genres of Bashkir folk song (yyr), uzunkyuy, a treasury of Bashkir folk musical and poetic culture, occupies an outstanding position. Uzunkyuy most deeply and comprehensively expresses the national character of the Bashkir people, their life and struggle for a bright future are clearly reflected. That is why Uzunkyuy is at the same time a national epic: in the past, not being able to capture their eventful history in writing, the Bashkir people sought to reflect it in Uzunkyuy. The embodiment in perfect form of the high thoughts and feelings of the people, the high level of musical and poetic skill and, finally, the living development of traditions in modern conditions, all this allows us to call Uzunkyu a Bashkir folk musical and poetic classic.

In all its types and genres, Bashkir song and musical creativity truthfully reflects the life of the people, their customs and beliefs, thoughts and aspirations. The song both comforted and inspired the person. The song treasury, enriched over the centuries, has absorbed the wisdom and spiritual beauty of the people. The features of the artistic self-awareness of people of the most ancient period are reflected in fairy tales. The Bashkir epic most richly represents fairy tales, fairy tales, everyday tales and stories about animals. Fairy tales reflect man's fear and surprise at the incomprehensible forces of nature, show man's struggle with these forces, and overcoming them. The rich nature of the Urals - the abundance of mountains, forests, waters - could not help but amaze a person’s imagination, and not arouse the desire to find a feasible explanation for incomprehensible phenomena. The main characters of Bashkir magical folk tales are: azhdaha, yukha, div (or diyu, due), peri, gin, myaskiai - evil spirits and creatures hostile to people. Among the positive characters, the winged horse Tulpar stands out - the faithful servant of the fairy-tale hero and the huge bird Samregosh, which saves the hero because he saves her chicks from azhdahi (dragon). The fairy tale tradition has also developed a whole range of magical objects that make it easier for the heroes to perform their exploits.

The most widely used of them are the self-cutting sword, the self-cutting ax, the invisible cap, water, which increases or decreases strength; a comb from which a forest grows; a mirror turning into a lake (river, sea); kurai, from which blood drips if the hero is in trouble, or milk - if the hero is lucky; medicinal herb; clothes that don't wear out; bread that never runs out, etc.

Bashkir everyday tales more fully and directly reflect social life and social relations; they introduce people to bygone times, introduce them to the atmosphere of nomadic life, to the life of hunters and cattle breeders. At the same time, they reflected the wit of the people more clearly, and brought to us their satirical laughter.

The heroes of everyday fairy tales reflect the vital interests of the people in their actions; they act as exposers of untruths. Fairy tales always end with the hero returning to his homeland with victory. The hero’s attitude towards his native land is clearly expressed in the saying: “It is better to be an ultan (outsole) in the homeland than a sultan in a foreign land,” which often serves as the ending of fairy tales from the everyday cycle. This sublime feeling of love for his homeland and longing for it captures the hero the more powerfully the further he goes from his land. So, in one of the fairy tales, the king decided to marry his daughter to someone who would climb to the top of a very high pillar with a glass of water on his head and calmly descend. The hero of the fairy tale fulfilled this condition. He reached the very top of the pillar, the water did not spill from the glass, but tears flowed from his eyes: the hero saw his native land from there, and melancholy and sadness fell upon him.

Characteristic of Bashkir oral folk art are various riddles and kulyamasy (anecdotes). Every significant phenomenon of life found its own unique reflection in riddles. In ancient times, it was forbidden to pronounce certain words. For example, our ancestors believed that if you say the word “bear” (ayyu), then this beast will appear and harm people. Therefore, they called him with a figurative word - “olatai” (grandfather). From such forbidden words and expressions, riddles gradually formed. Kulyamas is one of the genres of folk art: a work with witty content, based on an original event with an unexpected ending, i.e. kulyamas (anecdote) - a short oral story about a funny incident.

The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development.

Oral poetic classics continue to provide aesthetic pleasure today. The living development of the traditions of verbal musical art of the Bashkir people, its exceptional role in the formation and growth of Bashkir culture is evidenced, in particular, by the fact that its entire development proceeds to a large extent on the basis of the widespread use of the richest folklore.

2. SESEN. BURANBAYARKEY (1781-1868), ISHMUHAMMET (1781-1878).

Sesens are Bashkir folk poets, improvisers and singers. They improvise in the form of a song recitative to the accompaniment of dumbyra.

Sasen competitions were held on yiyyns. Sesens were considered by the people as the most respected personalities. They were not limited to just poetry, but were active public figures: they were keenly interested in the life of the people, always found themselves in the thick of important historical events, and with fiery poetic words they called on the people to actively fight for their spiritual freedom. The kubair “Dialogue of Akmurzysesen and Kubagushsesen” (“Akmyrza sesen menen Kobagosh sesenden eiteshekene”) expresses the social ideal of the sesen: “He does not protect evil, he does not spare the enemy, he loves justice, the grief of the country is on his lips, the joy of the people is in his songs " Some sesen were participants in peasant uprisings on the territory of Bashkortostan, and the poet and improviser Salavat Yulaev was the leader of a large peasant movement. The names of many talented sesen of the 14th-18th centuries, closely associated with the history and spiritual culture of the Bashkirs, have been preserved: Khabrau, Erense, Kubagush, Karas, Mahmut, Baik, Aidar, etc. In the end. 19 - beginning 20th centuries their traditions were continued by Ishmuhammet Murzakaev, Gabit Argynbaev, Khamit Almukhametov, Sabiryan Mukhametkulov, Shafik Aminev Tamyani, Valiulla Kulembetov. In the post-war years, the most popular were the works of M. Burangulov, F. Davletshin and S. Ismagilov, they were awarded the title of people's sesen of Bashkortostan. Nowadays, the sasaeng traditions are being actively revived.

Around the 15th - 16th centuries lived the legendary Khabrau, one of the first Bashkir sesen, whose names have survived to this day. In his improvisations, he glorified his native Urals and called on the people to protect it from foreign invaders. As modern scientists note, the name of the outstanding Khabrausesen was then known from the Urals to Altai.

BURANBAYARKEY(1781-1868)

"Buranbay" is a Bashkir historical folk song called Uzunkyuy. It was recorded in different years in the regions of residence of the Bashkirs S.G. Rybakov, M.A. Burangulov, G.S. Almukhametov, S.Kh. Gabyashi, A.S. Klyucharev, I.V. Saltykov, K.Yu. Rakhimov, L.N. Lebedinsky, F.Kh. Kamaev and others. “Buranbay” was arranged by composers Kh.F. Akhmetov, M.M. Valeev, Rakhimov. The emergence of the song and legends about Buranbai is associated with the name of the folk singer-improviser and kuraist Buranbai Kutusov (Buranbai Yarkeysesen), the yurt foreman of the 6th Bashkir canton (now the village of Stary Sibay, Baymak district of the Republic of Belarus). The song reflected an event in the life of Kutusov, when he, along with his colleague Aisuak Ibragimov, was exiled in 1820 to Siberia on false charges. The melody of the song is masterfully ornamented, the melody has a large range (more than two octaves). The performance of “Buranbai” testifies to the special talent and maturity of the singer and musician. The best performers of “Buranbai” are considered to be M. Khismatulin, I. Sultanbaev, A. Sultanov, S. Abdullin, F. Kildiyarova, M. Gainetdinov. The tune of “Buranbai” was used in Akhmetov’s suite for violin and piano (1940), in the ballet “Crane Song” by L.B. Stepanova (1944).

ISHMUHAMMETSESEN(1781-1878)

Ishmuhammetsesen is a pseudonym, the real name and surname of this sesen is Ishmuhammet Murzakaev. He was born in 1781 in the village of Novo-Balapanovo, Verkhneuralsky district, Orenburg province, now Abzelilovsky district of the Republic of Belarus. He died in 1878 in the same place. Ishmuhammet sesen is an outstanding Bashkir storyteller, singer and kuraist. According to legend, he is the author of the songs “Ringing Valley” (“Sandy Uzek”), “Fugitive Yulty” (“Yulty Karak”), “Buzykaev” and others. In military service he was a kuraist under the head of the 9th Bashkir canton of the Orenburg province Kagarman Kuvatov , as well as under the General Governor of the Orenburg Province V.A. Perovsky.

Ishmuhammet sesen had a great influence on the work of subsequent sesen and kuraists, in particular on Gabitsesen. Sesens of each generation were concerned about the fate of the people, their plight, they called for remaining faithful to the best human qualities developed by the working masses over many generations. Poetic works of oral authors were distinguished by the significance of their content, depth of thought, and apt imagery of language. Some lines from their improvisations subsequently became popular proverbs and sayings. Loving and respecting the creativity of sasen, the people also expressed their attitude towards them in proverbs and sayings. For example, there are such aphorisms:

Hold your tongue in front of your saeseng.

The greatness of the sesaeng lies in his poetic words.

The word sesaeng is for everyone.

One must be able to distinguish the oral poetry of the saesengs from folklore. Folklore - folk oral poetry - is also spread orally. But it does not have a specific author, but is compiled collectively. And in oral literature, the worldview of any individual author - the sesen of the improviser - is clearly expressed.

Conclusion

The oral and poetic creativity of the Bashkir people is the history of this people. It began in ancient times and for centuries it was and is the center of the soul of the people, reflecting the thoughts and aspirations of the people. People never stop their creativity. When there was no written language yet, people created orally. Fairy tales and stories, sayings and proverbs spread from mouth to mouth. They also passed from generation to generation. As they moved from storyteller to storyteller, they were enriched and improved. The works of sasen and individual wordsmiths, spreading among people over the centuries, became the works of the people themselves.

Folklore teaches people how to live. Encourages you to always be honest and decent. Calls to understand the beauty of the world. Teaches you to follow the good example and avoid the bad. Welcomes the greatness of the struggle for the happiness of the people. The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development. Oral poetic classics continue to provide aesthetic pleasure today. The living development of the traditions of verbal musical art of the Bashkir people, its exceptional role in the formation and growth of Bashkir culture is evidenced, in particular, by the fact that its entire development proceeds to a large extent on the basis of the widespread use of the richest folklore.

Bashkir sesen folk art

List of used literature

1. Kharisov A.I. Literary heritage of the Bashkir people. Ufa, 2013.

2.Kireev A.N. Bashkir folk heroic epic. Ufa, 2014.

3. Bashkir folk epic. M., 2014.

4. Bashkir traditions and legends. Ufa, 2013.

5. Bashkir folk art. T.1. Epic. Ufa; T. 2. Traditions and legends. Ufa; T. 3. Heroic tales. Ufa; T.4. Fairy tales and tales about animals. Ufa; T. 5. Everyday tales. Ufa; T.6. Comic tales and kulyamyas. Ufa; T. 7. Proverbs, sayings, signs, riddles. Ufa.

6. Bashkir folk tales. Ufa, 2013.

7. Khisametdinova F. G. et al. Native Bashkortostan. Ufa, 2014

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Introduction of the dissertation (part of the abstract) on the topic “Bashkir folk music and poetry: Questions of classification”

Folk art has its roots in the invisible past. The artistic traditions of early social formations are extremely stable, tenacious and determined the specifics of folklore for many centuries to come. In every historical era, works coexisted more or less ancient, transformed, and also newly created. Together, they formed the so-called traditional folklore, that is, musical and poetic creativity created and transmitted by each ethnic environment from generation to generation orally. Thus, peoples retained in memory everything that met their vital needs and moods. This was also typical for the Bashkirs. Their spiritual and material culture, inextricably linked with nature, and eventful history are reflected in traditional folklore, including song art.

Any historical event evoked a response in the song and poetic creativity of the Bashkirs, turning into a legend, tradition, song, or instrumental melody. The ban on the performance of any traditional song genre associated with the name of a national hero gave rise to new musical genres. At the same time, the names, functional and musical-style features of the songs could be changed, but the theme that excited the soul remained a source of folk inspiration.

Bashkir oral-poetic and musical folklore includes a variety of epic monuments (“Ural-batyr”, “Akbuzat”, “Zayatulyak and Khyukhylyu”, “Kara-yurga”, etc.), songs, legends and stories, tales - Khurafati hikaya, poetic competitions - aitysh, fairy tales (about animals, 1 magical, heroic, everyday, satirical, novelistic), kulyamyasy-anecdotes, riddles, proverbs, sayings, omens, Harnau and others.

The unique song heritage of the Bashkir people consists of kubairs, work songs and choruses, calendar songs of the annual agricultural circle, lamentations (wedding, recruitment, funeral), lullabies and wedding songs, drawn-out songs “ozon kuy”, quick songs “kiska kuy”, bytes, munazhaty , takmaki, dance, comic, round dance songs, etc.

The national instruments of the Bashkirs include unique ones that are popular to this day: kuray (kuray), kubyz (kumy?), string kumyz (kyl kumy?) and their varieties. It also includes “musical” household and household items: trays, buckets, combs, braids, wooden and metal spoons, birch bark, etc. Borrowed musical instruments, and instruments common among the Turkic peoples: whistles made of clay and wood, dombra, mandolin, violin, harmonica.

For more than two centuries, the musical and poetic folklore of the Bashkir people has been purposefully studied by representatives of various scientific directions and the intelligentsia. V.I. wrote about the rich national art. Dahl, T.S. Belyaev, R.G. Ignatiev, D.N. Mamin-Sibiryak, S.G. Rybakov, S.I. Rudenko and others.

Admiring the original musical gift of the people, local historian R.G. Ignatiev wrote: “Bashkir improvises his songs and motives when he is alone, especially on the road. He drives past a forest - he sings about the forest, past a mountain - about a mountain, past a river - about a river, etc. He compares the tree with a beauty, wild flowers with her eyes, with the color of her dress, etc. The motives of Bashkir songs are mostly sad, but melodic; The Bashkirs have many such motives that another composer would envy them.”

In the field of traditional song folklore of the Bashkirs, many works have been written devoted to individual genres, their regional and musical-style features.

The relevance of research. The dissertation is based on knowledge of folkloristics and ethnomusicology, which allows us to explore the song genres of Bashkir folk art in the relationship of music and words. Separately, melodious and recited genres are considered - kubairs, bytes, munazhaty, senlyau, hyktau, songs-lamentations of recruits, as well as songs with developed melody - “ozon kui”, “kiska kui”, “takmaki” and other genres, which makes it possible to consider Bashkir song creativity in its diversity.

In modern science there are generally accepted methods for studying folk art, in which “the main determinants are connections with a certain era, a certain territory and a certain function”1. The work under review uses the main provisions of this theory of classification of song folklore.

The purpose of the study is a comprehensive systematic analysis of the vocal genres of Bashkir folklore, the study of their evolution, poetic and musical-style features in their ritual and non-ritual functionality.

In accordance with the goal, the following tasks are put forward:

Theoretical justification for studying the genre nature of works of oral and poetic musical creativity using the example of folklore of the Bashkir people;

Identification of priority areas in the field of research of the genre basis of Bashkir musical and poetic creativity;

Determining the origins of the formation and development of genres of musical and poetic folklore of the Bashkirs in the context of traditional social culture;

A study of the musical and stylistic features of individual song genres of Bashkir folk art.

The methodological basis of the dissertation was the fundamental works of domestic and foreign scientists devoted to the genre nature of works of folk art: V.Ya. Proppa, V.E. Guseva, B.N. Putilova,

1 Chekanovskaya A.I. Musical ethnography. Methodology and technique. - M.: Sov. composer, 1983. - P. 57.

N.P. Kolpakova, V.P. Anikina, Yu.G. Kruglova; studies of musicological theorists: JI.A. Mazelya, V.A. Zuckerman, A.N. Sokhora, Yu.N. Tyulina, E.A. Ruchevskaya, E.V. Gippius, A.B. Rudneva, I.I. Zemtsovsky, T.V. Popova, N.M. Bachinskaya, V.M. Shchurova, A.I. Chekanovskaya and others.

The dissertation uses achievements in the study of folklore of different peoples. Works on Turkic, Finno-Ugric cultures: F.M. Karomatova, K.Sh. Dyushalieva, B.G. Erzakovich, A.I. Mukhambetova, S.A. Elemanova, Ya.M. Girshman, M.N. Nigmedzyanova, P.A. Iskhakova-Vamby, M.G. Kondratyeva, N.I. Boyarkina. In them, the genre classification of works of folklore is carried out using folk terminology and ritual and non-ritual functionality.

The dissertation is a logical continuation of the study of the musical folklore of the Bashkirs and is based on works on local history and ethnography (R.G. Ignatieva, S.G. Rybakova, S.I. Rudenko), Bashkir philology (A.N. Kireeva, A.I. Kharisova , G.B. Khusainova, M.M. Sagitova, R.N. Baimova, S.A. Galina, F.A. Nadrshina, R.A. Sultangareeva, I.G. Galyautdinova, M.H. Idelbaeva, M.A. Mambetov and others), Bashkir folk music (M.R. Bashirov, J.I.H. Lebedinsky, M.P. Fomenkov, Kh.S. Ikhtisamov, F.Kh. Kamaev, P.S. Suleymanov, N.V. Akhmetzhanova, Z. A. Imamutdinova, J. K. Salmanova, G. S. Galina, R. T. Galimullina, etc.).

An integrated approach to the topic being developed is carried out on the basis of specific historical and comparative typological scientific methods of analysis.

The material for the dissertation was:

2) folklore expeditionary recordings made on the territory of Bashkortostan, Chelyabinsk, Kurgan, Orenburg, Perm regions in the period from 1960 to 2003;

3) archival materials stored in the National Library. Akhmet-Zaki Validi, in the folklore rooms of the Ufa State Academy of Arts, the Ufa Scientific Center of the Russian Academy of Sciences and the Union of Composers of the Republic of Bashkortostan, personal archives of folk music collectors K.Yu. Rakhimova, Kh.F. Akhmetova, F.Kh. Kamaeva, N.V. Akhmetzhanova and others.

In accordance with the stated objectives, the structure of the work was determined, including an introduction, four chapters, a conclusion, and a list of references.

The introduction outlines the purpose and objectives of the research, methodological basis, scientific novelty and practical significance of the dissertation.

The first chapter reveals the specific features of works of oral song and poetry, their social significance. Folk forms of creativity (unfixed - stored not as material objects, but in the memory of the bearers of the tradition) at a certain stage of development were formed into types of art (music, poetry, dance).

At the species level, there are no specific definitions of the concept “genre”. In most cases, scientists use the term “genus”, borrowed from literary studies, meaning “a way of depicting reality,” distinguishing three major directions: epic, lyricism, drama.

To understand the essence of the genre, it is necessary to point out the main features that allow us to identify the coordinates of a work of musical and poetic art. This problem has been comprehensively studied both in theoretical musicology (JI.A. Mazel, V.A. Tsukkerman, A.I. Sokhor, Yu.N. Tyulin, E.A. Ruchevskaya) and in folkloristics (V.Ya. Propp , B.N. Putilov, N.P. Kolpakova, V.P. Anikin, V.E. Gusev, I.I. Zemtsovsky).

The interaction of a number of criteria (functional purpose, content, form, living conditions, structure of poetics, attitude to music, methods of performance) form a genre cliché, on the basis of which the classification of folk songs is based.

In scientific musicology and folkloristics, various ways of systematizing genres have developed. . Depending on the main determining factor, they can be constructed:

1) by type of poetry (epic, lyric, drama);

2) according to folk terminology (“ozon kui”, “kiska kui”, “hamak yuoy”, “halmak kui”);

3) by functional features (ritual and non-ritual genres) of folk music;

4) according to various criteria (thematic, chronological, territorial (areal), national, etc.).

The second section of the chapter is devoted to the analysis of genre classifications used in studies of the song folklore of the Turkic, Finno-Ugric and Slavic peoples.

In ethnomusicology, a division of genres into types of poetry is used, which is used depending on the hierarchical subordination of general and specific features that make up the artistic form of song genres.

In musical and poetic folklore, epic genres reflect the centuries-old history of the people. They are united by the narrative nature of the presentation of the poetic text and the recitative intonation of the chant. The performing process requires the obligatory presence of a sesaeng (singer-storyteller) and a listener.

Song genres of the lyrical kind reflect the psycho-emotional state of a person. Lyrical songs carry a certain generalization of life and convey information not only about the event, but also about the personality of the performer, his attitude to the world around him, thereby reflecting all facets of life (philosophy, feelings, civic duty, mutual influence of man and nature).

The dramatic genre of musical folklore represents a synthesis of arts and includes song genres, accompanied by theatrical, ritual and choreographic action.

Of interest to folkloristics are classifications of vocal genres based on existing folk terms. For example, “o$on kvy”,

Kb/QKa koy" - among the Bashkirs and Tatars, "kvy" and<щь/р» - у казахов, инструментальный «/газ» и песенный «ыр» - у киргизов, «эйтеш» - у башкир, киргизов, казахов, «кобайыр,» - у башкир, «дастан» - у узбеков, казахов, татар.

This classification played a significant role in the development of folkloristics as a science in national schools when studying the song heritage of the Turkic peoples and has not lost its practical significance in our time.

For practical purposes, folklorists at different times used genre classifications based on thematic (T.V. Popova, Kh.H. Yarmukhametov, J. Fayzi, Ya.Sh. Sherfetdinov), chronological (A.S. Klyucharev, M.A. Muzafarov, P.A. Iskhakov-Vamba), national (G.Kh. Enikeev, S.G. Rybakov), regional or areal (F.Kh. Kamaev, P.S. Suleymanov, R.T. Galimullina, E.H. Almeeva) criteria.

The second chapter provides an analysis of handwritten and printed publications from the end of the 19th to the beginning of the 21st centuries, devoted to the issues of genre classification in the field of Bashkir oral song and poetic creativity. The chronological principle of constructing the chapter allows us to trace in the works of local historians, historians, philologists and musicians the degree of development of the problem in the sphere of the genre nature of the song culture of the Bashkir people.

The third and fourth chapters are devoted to the study of the genre basis of the musical and poetic creativity of the Bashkirs, which, depending on the presence or absence of a social and everyday function, is divided into two large groups. In accordance with this, individual ritual (calendar, children's, wedding, funeral, recruitment) and non-ritual genres (kubairs, bytes, munazhat, drawn-out and fast songs, takmaks) are considered.

This classification allows us to explore the rich song folklore of the Bashkirs in close connection with the social and everyday way of life, to identify the dramaturgy of rituals, to substantiate existing folk terms (“ozon kuy”, “kiska kuy”, “hamak kuy”, “halmak kuy”, “takmak”, “harnau”, “hyktau”, etc.), as well as analyze the musical structure of vocal genres.

At the conclusion of the dissertation, the results of a study of the genre nature of the traditional song art of the Bashkirs are formulated.

The scientific novelty of the dissertation lies in the fact that various types of classifications in the field of Bashkir folklore are considered (by types of poetry; by folk terminology; by functional, chronological, regional, musical and stylistic characteristics), and on their basis an attempt is made to independently study the genre nature of song- poetic creativity of the Bashkirs; The conducted research makes a certain contribution to the development of a genre classification of musical folklore of the Bashkir people.

The practical significance of the work lies in the fact that the dissertation materials can be used to create generalizing works in the field of Bashkir song folklore; for the study of national musical cultures of the peoples of the Urals, Volga region and Central Asia. In addition, the materials of the work can be used in lecture courses (“Musical ethnography”, “Folk musical creativity”, “Folk expeditionary practice”, “History of Bashkir music”, etc.), given in the system of secondary and higher music education in the Volga region and the Urals.

Conclusion of the dissertation on the topic “Folkloristics”, Akhmetgaleeva, Galia Batyrovna

Conclusion

The researched topic “Bashkir folk musical and poetic creativity (classification issues)” is relevant, practically significant and of scientific interest for domestic folkloristics. The issue of classification of genres of folk art can be resolved with an integrated approach to the problem being put forward.

The methodological principles used in the study of the systematization of genres of traditional song culture of the Turkic, Finno-Ugric, and Slavic peoples are diverse and multifaceted. Their differences are based on the choice of one or a combination of several characteristics. The following types of genre classifications of song folklore are known: division of genres into types of poetry, introduction of terminology of carriers of musical traditions, reliance on social and everyday functions, use of chronological, territorial, genre-thematic, musical-style properties.

Since the end of the 19th century. Active work was carried out to collect and then classify samples of oral, poetic and musical creativity of the Bashkir people. At the same time, the scientists’ conclusions regarding the genre nature of Bashkir musical folklore were based on the volume of collected material, systematized according to thematic and chronological criteria. Thanks to the painstaking work of researchers, lyrical, historical, and wedding songs were recorded; takmaki, “religious folklore” songs, dance melodies and many other genres.

Russian musician S.G. Rybakov was the first to use the folk terms “ozon kui” and “kiska kui” to define the genre characteristics of Bashkir folk music.

An analysis of scientific works of the 20th century devoted to the original song culture of the Bashkir people indicates the absence of a coherent unified system for classifying genres. It should be noted that many researchers did not set such a goal. Some authors are guided by thematic and functional principles, others rely on the melodic structure of folk songs.

In the genre classification of the song heritage of the Bashkir people, as in literary criticism, the principle of clan division is used as the main one.

Scientific vitality is demonstrated by the systematization of the works of Bashkir folklore, based on the popular terms “ozon kuy”, “kiska kuy”, “halmak yuoy”, “hamak kuy”. At the same time, their meaning is interpreted in two ways: as song genres and as features that determine the form and structure of the melody.

Domestic collectors and researchers of Bashkir song folklore, when compiling collections, often used the historical and chronological principle with further thematic division: a) songs of the pre-October period; b) Soviet songs.

The last decade of the 20th century. is characterized by the introduction into domestic folklore of a classification of traditional musical and poetic genres, determined by the social and everyday function and melodic-style structure. This system allows us to consider song folklore from the point of view of ritual (timed) and non-ritual (not timed) genres.

The concept of “genre” has morphological and aesthetic content. It is determined by the combination and degree of influence of different criteria: a) functionality; b) content; c) unity of text and melody; d) compositional structure; e) shape; f) living conditions; g) the structure of poetics; h) time and place of execution, etc. At the same time, functionality is one of the fundamental characteristics.

Based on functional characteristics, connections with various everyday situations, traditional culture, as well as musical and stylistic features of the works, the song heritage of the Bashkirs is divided into ritual and non-ritual genres.

The group of song genres, conditioned by certain circumstances and time, includes the most ancient vocal forms of intonation: “harnau” (recitations included in magical rituals), “hyktau” (crying for the dead), “senlyau” (lamentations of the bride), exclamations, and zaklichki (songs-choruses addressed to the elemental forces of nature), as well as traditional vocal genres: calendar songs, wedding songs, recruitment songs-lamentations.

The group of song genres not determined by specific circumstances and time includes epic and lyric-epic works (kubairs, munazhaty, bytes), drawn-out lyric-epic and lyrical songs “ozon kyui”, short songs “kiska kuy”, takmaki, labor and lullabies songs.

Traditional vocal music of the Bashkirs has specific properties. It developed various types of melos - from recitative (calendar chants, lamentations, kubairs) to richly ornamented (lingering lyrical songs). The principles of emotional, figurative, genre typification of intonations are observed. For example, recitative-declamatory vocal genres are associated with the archaic forms of performing art of the Bashkirs “kharnau” and “hyktau”, which are characterized by a special manner of sound production, accompanied by a change in register and timbre of the voice. Their tunes use low-volume anhemitonic (trichord) and incomplete diatonic (tetrachord) scales; pentatonic scale of major and minor inclination. This confirms the antiquity of the intonation scheme of the scale and melodic movement.

The song culture of the Bashkirs is monodic in nature. The solo performing art of the people is closely related to the genre of lingering songs. It reveals the principle of variant germination of the intonation beginning of a chant, the breadth of vocalization of the syllables of a poetic text. The melodies of the drawn-out songs “ozon kui” are built on varieties of anhemitonic scales, the volumes of which expand due to the merging of various pentatonic-modal formations.

Due to the specifics of the national sound, the poetic text has a special meaning in “ozon kuy”. The phonetics of the Bashkir language plays an important role in the patterned ornamentation of songs, which later became a kind of musical classics of the people (“Ural”, “Zulkhiza”, “Buranbai” and many others).

The rhythmic structure of the richly ornamented “ozon kuy” is characterized by the irregularity of the metrhythm; they reveal the principles of aruz, quantitative metrics, based on the ratio of the longitude of rhythmic durations.

The opposite of Bashkir drawn-out songs are short songs “kiska kui” with a clear relief melodic pattern, strict proportionality and symmetry of proportions, a clear accent rhythm and a certain syllable-sound relationship in the tune.

Form formation is determined by the genre and musical-style properties of folklore works. In the Bashkir song culture, the basis of the recited tunes are one-line tirade forms that perform the functions of the compositionally organizing role of stanzas. In Bashkir drawn-out songs, the tune corresponds to one half-strophe of a four-line verse, and in bytes, the tune is equal to a two-line stanza.

A characteristic feature of the non-ritual genres of musical and poetic creativity of the Bashkirs is the fusion of song text and tradition or legend ("ozon kuy"), verse and chant (kubair). Poetic texts of certain traditional song genres are characterized by the melody not being assigned to a specific text (epic songs, bytes, munazhat, takmaki).

The creative understanding by professional composers of the genre diversity of the musical folklore of the Bashkir people contributed to the creation of works of large forms.

Thus, the librettos of a number of Bashkir operas are based on ancient legends and/traditions. For example, the libretto of the opera A.A. Eichenwald "Mergen" written

M. Burangulov based on the epic “Mergen and Mayankhylu”. The plot basis for the opera “Akbuzat” by Kh.Sh. Zaimov and A. Spadavecchia were based on the libretto by S. Miftakhov, based on the epic of the same name.

The work of one of the founders of Bashkir professional music, People's Artist of the USSR, Professor Z.G. Ismagilov is closely connected with the cultural heritage of the people. Based on the folk legend Z.G. Ismagilov and L.B. Stepanov created the first national ballet “Crane Song” (libretto by F.A. Gaskarov). The lyrical and psychological opera “Shaura” (libretto by B. Bikbai) tells the story of the dramatic fate of a Bashkir girl in pre-revolutionary times. The heroic and patriotic operas “Salavat Yulaev” (libretto by B. Bikbai), “Ambassadors of the Urals” (libretto by I. Dilmukhametov), “Kakhym Turya” (libretto by I. Dilmuhamtov, A. Dilmukhametova) are dedicated to the pages of the history of the people.

To express the national flavor, composers often turn to the traditional song and poetic creativity of the Bashkirs. So A.A. Eichenwald in the opera “Mergen” uses the drawn-out lyrical song “Ashkadar” and the melodies of the kubairs “Kara Yurga” and “Kungur Buga” to characterize the characters. Into the melodic outline of the lyrical-psychological opera by Z.G. Ismagilov’s “Shaura” includes variants of the drawn-out lyrical song of the same name. In the operas of Z.G. Ismagilov “Salavat Yulaev”, “Kakhym Turya”, Bashkir folk songs “Salavat” and “Kakhym Turya” dedicated to national heroes were used.

We hope that in the future, solving the problem of the genre system of Bashkir musical and poetic creativity will contribute to the creation of research related, first of all, to the history, sociology, dialectics of each song genre, which will allow us to take a fresh look at the ways of mutual enrichment of folk genres, the musical and stylistic features of folk songs, as well as determine their practical significance at the present stage.

This dissertation was carried out in line with modern scientific and practical trends. Its results can be used to study the cultural heritage of the Turkic peoples, in particular in determining the genre and musical-style features of folklore works.

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Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

The Bashkirs, like many other formerly unliterate peoples of Eastern Europe. Siberia and Central Asia, created the richest folklore. Epic tales, legends, traditions, and historical songs depict historical events, the activities of individuals, the life and customs of the Bashkirs, the social life and ethnic appearance of the people. Many monuments of oral folk art contain information about the tribal composition of the Bashkirs, the migrations of the Bashkir tribes, their relationships with neighbors, etc. Of particular value as a historical, ethnographic source is the folk heroic epic of the Bashkirs, the emergence of which by A.N. Kireev refers to the period of the collapse of primitive communalism and the formation of early class relations (Kireev, 1970, p. 47). Typically, heroic plots in Bashkir creativity (“Ural Batyr”, “Kuzy-Kurpes and Mayan-Khylu”, “Kara Yurga”, “Kungyr Buga”, “Kusyak-biy”, etc.) in poetic images reproduce events characteristic of the medieval nomadic society. In this regard, these monuments provide significant material not only for restoring some pictures of the ethnic history of the Bashkirs, but also for characterizing the internal social structure and social life of society.

Legends and historical songs, often accompanied by narratives about their origins, are also often based on real historical events. Of course, the transmission of these events is heavily overgrown with mythological plots, wandering from one legend to another since ancient times, fantastic images, an exaggerated assessment of the role of individual “batyrs”, etc. But if the researcher manages to separate reliable facts from the thick layering born of the imagination of the storytellers, then in his hands there are additional sources coming from the people themselves, new facts that cannot be obtained in any other way. Such are, for example, the historical legend of the southwestern Bashkirs, conventionally called by later scribes “The Last of the Sartaev Family,” which tells the story of events in Bashkiria during the war between Tamerlane and Tokh-Tamysh (late 14th century); the epic tale “Kusyak-biy”, vividly reflecting the struggle of the southeastern Bashkir tribes for political consolidation (XIII-XV centuries?); the legend of the Bashkir-tan-Gaurs “Gabdrash-batyr”, recorded by us in 1953 and telling about long-standing Bashkir-Kazakh ethnocultural ties, and many other monuments of Bashkir folklore. Even in works with a pronounced mythological plot (“Kun-gyr buga”, “Synrau torna”, “Akbuzat”, “Bala Karga”, etc.) numerous facts and information are scattered that are of interest in terms of ethnic studies: they contain references to about the ancient Aral-Central Asian connections of a number of Bashkir tribes, about the routes of resettlement to the Urals, about family totems, tamgas, etc.

The involvement of oral folk art of the Bashkirs in broad historical and ethnographic research becomes possible thanks to successful collecting and publishing work. Back in the second half of the 19th century. a series of works appears devoted to both the publication and historical interpretation of Bashkir historical traditions, legends and epic works (Nebolsin, 1852; Lossievsky, 1883; Nefedov, 1882; Sokolov, 1898, etc.). The vast majority of these publications were carried out without observing the scientific principles of publishing sources of this kind, which naturally reduces the possibilities of their use.

The most fruitful years in terms of accumulation of folklore material were the 1930s. It was during these years that scientists, writers, teachers or simply collective farmers recorded and transferred to the fund of the Institute of History, Language and Literature the most outstanding examples of oral folk art of the Bashkirs

(epic works, legends, historical songs, tales, etc.) 8. In the post-war period, the systematic collection of folklore resumed in the late 1950s, when the Institute of Laboratory of Literature of the BFAN of the USSR again began organizing annual folklore expeditions. Expeditions over more than ten years have accumulated enormous material, but from the point of view of historical and ethnographic value it is inferior to folklore monuments collected earlier; epic works, tales, historical songs, due to changed conditions, are gradually erased from the memory of the people, and in many cases disappear completely.

Some of the collected material was published in the 1950s (Kharisov, 1954, 1959). Currently, the scientific publication of the multi-volume series “Bashkir Folk Art” has begun. The first book in the series was published, which included the most significant epic monuments of the Middle Ages (BHI, 1972). At the same time, the classification of monuments of Bashkir folklore according to the principles accepted in modern science has not yet been completed. Until recently, there were also no special studies to help understand the historical foundations of Bashkir folklore. In recent years, research in this direction has noticeably revived. Several very valuable works have appeared in which interesting attempts have been made to establish the relationship between historical reality and some subjects from medieval monuments of Bashkir folklore (Kharisov, 1965, pp. 80-110; Kireev, 1970, pp. 21-47; Mingazhetdinov , 1971). However, the study of the historical foundations of Bashkir folklore works in them has only just begun. The dating, historical and ethnographic characteristics of even the main monuments of Bashkir folk art remain unclear. The reason is not only the general difficulty of solving the problem, but also the excessive desire of researchers for one or another to connect works of folklore with specific historical facts, etc., but the main thing is the lack of development of theoretical issues related to identifying general trends in the development of folklore among former nomads at the time of the origin and formation of the largest epic monuments.Meanwhile, historical and ethnographic material which in a certain part is also folklore in nature, suggests that the degree and depth of connections between oral folk art and historical reality in different eras is different. Of course, at any time

Scientific archive of the USSR BFAN, f. 3, op. 12, d. 222, 223, 227, 230, 233, 242, 269, 276, 277, 292, 294, 298, 300, 303, 336.

During the periods of antiquity and the Middle Ages, in epic tales, folk tales, legends, etc. there was something from reality, something from fantasy. However, the heroic era, which coincided with the collapse of clans and the formation of class relations, left a particularly deep mark in the memory of the people, and people for a very long time, many centuries, eagerly listened to stories about heroes and batyrs, gradually supplementing these legends with new, more recent stories and details. Despite the strong touch of fantasy, through the powerful hyperbolic images of epic narratives and legends born of the imagination, the contours of real historical reality are quite clearly visible. Monuments of Bashkir folklore once again illustrate the deep truth of K. Marx’s words that “ancient peoples experienced their prehistory in imagination, in mythology" 9 .

While focusing on the prospects of using Bashkir folklore material as a historical and ethnographic source, at the same time we emphasize that these possibilities are still limited. In addition to the circumstances noted above, the interconnectedness of the study of history and folklore is essential here. Folklore, of course, helps to understand history, but in order to comprehend the historical origins of folklore itself and penetrate into the patterns of its genesis and development, one must know the history of the people well. Now many people recognize that the importance of folklore monuments in studying the history of peoples who were unliterate in the past is great. But folklore cannot be the only or even the main source base. Folklore can widely reveal its potential as a historical source only if it is interpreted from the perspective of sufficiently broad and thoroughly developed historical concepts. That is why in our research we avoided, despite the seemingly numerous possibilities, the use of material drawn from oral folk art as the main source in resolving issues of ethnic history. As a rule, information and observations extracted from folklore works appear in the work as additional material that helps strengthen the argumentation of certain provisions. But even in this role, folklore material in ethnogenetic studies of nomadic and unliterate peoples in the past occupies a place of honor as a historical source.

K. Marx And F. Engels. Works, vol. 1, p. 419.

Onomastic material

Onomastics as a special discipline relatively recently declared itself as a science that has broad capabilities in solving mainly ethnogenetic, historical-linguistic and historical-cultural problems. In Bashkiria, until recently, onomastics in all its manifestations (ethnonymy, toponymy, anthroponymy, etc.) developed exclusively as an auxiliary discipline. The analyzes she carried out, although of scientific interest, were, as a rule, based on randomly or arbitrarily selected examples and did little to help solve general historical problems. Held in September 1971 in Ufa III The Volga region onomastic conference revealed a completely new picture. It showed, firstly, the deep interest of scientists of the Volga region (and in particular Bashkiria) - ethnographers, linguists, historians in the development of problems of onomastics; secondly, improving the methods of analysis of onomastic material and expanding the philological background of the comparative historical examinations carried out. The reports read at the conference on ethnonymy, toponymy and anthroponymy of the Volga-Ural region demonstrated the wide possibilities of onomastics in the study of problems of ethnic history, the history of migrations, etc. The conference material (“Onomastics of the Volga Region”, 1973) was used by N.A.

At the same time, the successfully started work in the field of onomastics in terms of source studies requires further development and deepening. The value of etymological research, to which historians have always attached importance, increases if at least a relative dating of the appearance of a given name among a particular ethnic group is established. To do this, onomasts will have to base their constructions not on fragments of onomastic material. It is absolutely necessary to accumulate data on the entire ethnic group being studied and on the entire territory of its historical habitat. Only under this condition will there be a possibility of historical-chronological (or stratigraphic) division of the material and further etymological and semantic research based on systemic knowledge about the historical development of this group of names. In light of these requirements, it is necessary to note the work of A. A. Kamalov on the hydronymy of Bashkiria (1969). Currently, the Institute of Laboratory of Biological Sciences of the USSR BFAS is actively working to compile a general card index of toponymic names of the BASSR.

CHAPTER II

ACCUMULATION OF MATERIAL

BY ETHNIC COMPOSITION

distributed not only in Bashkortostan, but also in neighboring Saratov, Samara, Perm, Sverdl, Chelyab, Kurg, Orenb. region, in Tatarstan, where Bashkirs live compactly, as well as in the Republic. Sakha, Tyumen region. and in a number of CIS countries. The most ancient written information about it was left by Arab travelers Ahmed Ibn Fadlan (10th century) and Abu Hamid al-Garnati (13th century). At the origins of collecting B.F. there were representatives of the advanced part of the Russian Federation. intelligentsia: P. Rychkov, P. Pallas, I. Lepekhin, I. Georgi, V. Tatishchev (XVIII century), T. Belyaev, P. Kudryashov, A. Pushkin, V. Dal, L. Sukhodolsky, G. Potanin , M. Lossievsky, I. Berezin, V. Zefirov, R. Ignatiev and others (XIX century), A. Bessonov, D. Zelenin (late XIX and early XX centuries). Collection of music Bashkirs were engaged in folklore in Russian. musicologists, composers A. Alyabyev, K. Schubert, S. Rybakov (19th century), I. Saltykov, L. Lebedinsky, L. Atanova (20th century) and Tatar composers S. Gabashi, S. Saidashev, business to- rykh was continued by the national personnel Bashk. G. Enikeev, M. Sultanov, G. Almukhametov, K. Rakhimov, Z. Ismagilov, Kh. Akhmetov, R. Salmanov, G. Suleymanov, F. Kamaev, M. Akhmetov, Kh. Ikhtisamov, R. Suleymanov, A. Kubagushev and others. And among those who collected and published. samples B.F. from ser. XIX century, beginning names of people from Bashkirs appear, such as: S. Kuklyashev, M. Biksurin, Yu. Aminev, B. Yulyev, M. Kuvatov, M. Umetbaev, F. Tuykin, M. Burangulov, M. Gafuri, Sh. Babich and etc. From the first half. 1920s early more systematic collection of B.F. A particularly great contribution to this noble cause was made by M. Burangulov, G. Amantai, G. Salyam, A. Karnai, K. Mergen, A. Kharisov, M. Sagitov, N. Zaripov, F. Nadrshina, S. Galin, G. Khusainov, M. Mingazhetdinov, N. Shunkarov, A. Vakhitov, A. Suleymanov, R. Sultangareeva, B. Baimov, M. Mambetov, R. Ilyasov and others.

To date folk was formed over time. fund, which is stored in the manuscript departments and archives of the Ufa Scientific. c. RAS, Bashk. University, Sterlitamak Pedagogical Institute, Ufa Institute of Art. Naib. significant monuments B.F. publ. in three volumes (1950s), scientific. code in 18 vols. on the head language and in 13 vols. in Russian language Samples B.F. publ. on plural language in the Russian Federation and CIS countries, as well as in English, Hungarian, German, Turkish, Finnish, etc. Creators, speakers and distributors B.F. there were sesen (storytellers-poets-improvisers), storytellers, experts in traditions, legends and other oral stories, yirau and yirsy (singer-storytellers), kuraists, dumbrists, uzlyause (masters of throat singing), etc. The names of the famous sesen and yyrausy, who lived in the past have reached us. These are Khabrau, Erense, Kubagush, Akmyrza, Karas, Baik, Salavat Yulaev, Kakymturya, Ishmukhamet Murzakaev, Khamit Almukhametov, Gabit Argynbaev, Shafik Tamyani (Aminev), Zakir and Sabiryan Mukhametkulov, Valiulla Kulumbetov. In 1944, Mukhametsha Burangulov, Farrakh Davletshin, Sait Ismagilov by Decree of Pres. The Armed Forces of the BASSR were awarded the honorary title "People's Sesen of Bashkortostan". According to the composition of genera and genres, B.F. is in many ways similar to the folklore of other, in particular, Turkic peoples. At the same time, there are many in it. distinctive features. One of the oldest genres is B.F. Kubair epics are considered, which can be plot-based or plotless. Plot-based kubairs are epic poems, plotless ones are odes, poetic nasikhats are didactic poems. The chronological boundaries of the Kubair epics (KE) cover the period of the beginning. from the time of the decomposition of the primitive clan society to the era of late feudalism. Naib. The ancient CEs are the world famous "Ural-batyr" and also "Akbuzat". According to their themes, CE are divided into heroic and everyday. The first includes the already mentioned KE, in addition, epics about inter-tribal strife ("Alpamysha", "Kusyak-biy"), about the fight against the Tatar-Mongol yoke ("Idukai and Muradym", "Targyn and Kuzhak", "Ek-mergen" , "Mergen and Mayan"), about the fight against foreign invaders and against colonization ("Karas and Aksha", "Karakhakal", "Batyrsha", "Yulai and Salavat"); the second - mythological and associated with the cult of animals ("Zayatulyak and Khyukhylyu", "Akhak-kula", "Kara Yurga", "Kongur-buga"), about friendship and unity of clans and peoples, about love and family relationships ("Kuz -Kurpyas", "Aldar and Zugra", "Yusuf and Zulaikha", "Tagir and Zugra", "The Last Song", "Bairambike and Tatlybai"). In Kubair-odes, the beauty of the native land is praised, which is personified in the images of Ural-Tau, Yaik and Agidel, the exploits of the legendary batyrs (Muradym, Akshan, Sukan, Sura, Salavat, etc.) are glorified. ). And in the Kubair-Nasikhat the moral and ethical credo of the Bashkirs is revealed. The songs of the Bashkirs are divided into lyric-epic, lyrical and takmaki according to genre criteria. On the subject of bashk. songs form two large groups - ist. and household ones, which have their own internal subgroups. In the history songs reflected the history of the Bashkirs: the memory of the Golden Horde ("Golden Horde"), the conquering khans ("Buyagym Khan and Akhak-Timer"), the struggle against the colonization of the region ("Karakhakal", "Salavat-batyr", "Salavat and Pugachev"), participation in the Patriotic War of 1812 ("Second Army", "Kakhym-turya", "Kutuzov", "Lubizar", etc.), about canton commanders ("Kului-canton", "Kagarman-canton ", "Abdullah-akhun", etc.), about fugitive fighters for social. justice (“Buranbai”, “Yalan-Yarkai”, “Biish-batyr”, “Gazibak-Nasyr”, etc.), about army life and border (line) service (“Army”, “Karpat”, “Perovsky ", "Tsiolkovsky", "Akmaset", "Syr-Darya", "Port Arthur", etc.). Mn. ist. the songs are permeated with the idea of friendship of peoples, the Great Fatherland. The thematic range of everyday songs and takmaks (like ditties) is wide and varied. Bait is considered the youngest poetic genre, adjacent, on the one hand, to songs with epic content, on the other, to legends and lyrical songs. Unlike songs, baits do not have a specific melody attached to one text. They are usually composed about accidents and have the character of an elegy, but there are also satirical and ode-types. Close to baits in terms of genre, as well as in the form of execution, are munazhat, poems with religious content and glorifying the afterlife. Baits use a limited number of melodies. Oral Nar. prose in B.F. represent akiyats (fairy tales), legends, rivayat (traditions), khurafati hikaya-bylichki, khetire (tales and oral stories), as well as kulyamasy-anecdotes. Bashk. fairy tales as an independent type of folk tales. prose (karkhuz) includes fairy tales about animals, magic and everyday life, which in turn have intra-genre varieties. Legends and traditions are based on etiology and are presented as narrations of true stories, although the former are based on fantastic fiction, the latter are stories of a realistic nature. The repertoire of legends is replenished by stories about encounters with demonic forces (en-witches, shaitans, eye-owners of houses, reservoirs, etc.; shurale, pariya, albasty, bisura); rivayat - due to hetire-memories that have lost their “authorship”. Kulyamasy belongs to the small humorous genres. Among such genres, nasikhats (parables), miniature fables and laqaps also stand out. In terms of pathos, kumalasy gravitate towards satirical fairy tales, nasikhat - towards novelistic tales, fables - towards tales about animals, lakapas are colloquial folk. a cliché that forms a local aphorism associated with a specific anecdotal situation. In addition to satirical tales and small humorous forms, in B.F. There are kulduruk (fables) and ymkhyndyryk (boring tales). Aphoristic genres in B.F. represent makal (proverbs), item (stanzas consisting of several proverbs), tapkyr khuz (sayings), as well as yomak, tabyshmak (riddles). Roots pl. traditional images, motifs and plots disappear into mythology. And according to the mythological concept of the ancestors of the Bashkirs, mountains, rivers, trees, celestial bodies, natural phenomena are living beings, human-like (anthropomorphism) or animal-like (zoomorphism). Head on. mythology, the world consists of three tiers: heavenly, terrestrial and underground (underwater). Each of them is inhabited by certain mythical creatures, which, based on the nature of their relationship to humans, are classified as evil, kind and good-natured. Ritual folklore is distinguished by a special abundance of images and motifs associated with mythology (animism, totemism, belief in the magical power of words and certain actions). This Bashkir folklore is divided into calendar and family folklore, which reflect everyday life, work experience, health care, generation renewal, and household provision. well-being.

The palette of folklore associated with family and everyday life, in particular, wedding rites, which among the Bashkirs is a multi-stage theatrical action, is distinguished by a great variety and abundance of colors: the first stage - bishek tui (lullaby wedding) is held when a girl and a boy, to - parents want to see them as wives and husbands in the future and reach the age of forty days; the second khyrgatuy (wedding of earrings) is held when the “groom” is able to independently mount a horse and control it, and the “bride” can carry water (in this case, the boy gives the betrothed earrings). After these symbolic weddings and the young people reach adulthood, a real wedding is arranged - nikah tuyi (marriage wedding). Until the groom pays the mahar (kalym), it is forbidden to take the bride away, to show his face to his father-in-law and mother-in-law, so he comes to her late in the evening and only on the appointed days. Before seeing off the bride to the groom's house, a sengluu is arranged: the bride's friends and the young wives of her older brothers lament on her behalf, expressing their attitude towards their parents, relatives, groom and mother-in-law.

In B.F. dual faith can be traced - a combination of pagan customs with the canons of Islam. The influence of Islam was especially strong in funeral rites. In modern conditions in B.F. four trends are visible: the existence of traditional genres; revival of the ancient song repertoire and creativity of saesengs; growing interest in national ritual, to people holidays; development of art amateur performances.

Lit.: on the head language: Bashkir folk art. In 3 volumes. Ufa, 1954 (vol. 1); 1955 (vol. 2, 3); In 18 volumes. Ufa, 1972-85; Baimov B. Take the accordion and sing the takmak. Ufa, 1993; Galin S. Song prose of the Bashkir people. Ufa, 1979; Nadrshina F. The Word of the People. Ufa, 1983; It's her. Memory of the people. Ufa, 1986; Sagitov M. Ancient Bashkir Kubairs. Ufa, 1987; Suleymanov A. Genre originality of Bashkir everyday tales. Ufa, 1990; Khusainov G. Voices of the Ages: Essays on the history, theory and historical poetics of Bashkir literature. Ufa, 1984. In Russian. language: Bashkir folk art. In 13 volumes. Ufa, 1987-1993; Bikbulatov N., Fatykhova F. Family life of the Bashkirs in the 19th-20th centuries. M., 1991; Kirei Mergen. Bashkir folk heroic epic. Ufa, 1970; Kuzeev R. Origin of the Bashkir people. M., 1974; Rudenko S. Bashkirs: Historical and ethnographic essays. M., 1955.

Suleymanov A.M.

- Bashkir Nature Reserve in the Republic of Bashkortostan. Created in 1930 on the square. 49.6 thousand hectares. The unique landscapes of the low-mountain center are preserved. part South Ural...
Geographical encyclopedia
- - Republic of Bashkortostan, Ufa, st. Frunze, 32. Psychology, social work. See also Universities Ch484711...
Pedagogical terminological dictionary
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Russian Encyclopedia
- in the Bashkir Autonomous Soviet Socialist Republic. Located in the central part of the Southern Urals and in the bend of the river. White. Area 72 thousand hectares. Created in 1930 for the protection and study of typical forest and forest-steppe landscapes...
- them. 40th anniversary of the October Revolution, founded in 1957 in Ufa on the basis of the Bashkir Pedagogical Institute named after. K. A. Timiryazeva...
Great Soviet Encyclopedia
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Great Soviet Encyclopedia
- the lower tier of the middle section of the Carboniferous system...
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- in Bashkiria, in the bend of the river. White. Founded in 1930. Area 49,609 hectares. 2 separate areas: Uzyansky and Pribelsky. Pine-broadleaf and pine-birch forests. In some places, dry steppes with feather grass are developed...
- Ufa, founded in 1957. Trains specialists in physical and mathematical, biological, chemical, geographical, historical, philological, and legal sciences. In 1991, 8 thousand students...
Large encyclopedic dictionary
- belongs to the Kipchak group of Turkic languages. Writing based on the Russian alphabet...
Large encyclopedic dictionary
- BASHKIRSKY, oh, oh. 1. see Bashkirs. 2. Relating to the Bashkirs, their language, national character, way of life, culture, as well as Bashkiria, its territory, internal structure, history...
Ozhegov's Explanatory Dictionary
- BASHKIR, Bashkir, Bashkir. adj. to the Bashkirs...
Ushakov's Explanatory Dictionary
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Explanatory Dictionary by Efremova
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Russian spelling dictionary
- ...
Word forms

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