From oral folk art. Collection - Epics

Regional competition on the history of the Volgograd region
My native land, Cossack"

Institution: MKOU Krasnoyarsk Secondary School

Chernyshkovsky district, Volgograd region.

Consultant: Bavykina Lyudmila Vladimirovna

Krasnoyarsky village

Introduction.

Chapter I. Alexander Mikhailovich Listopadov is a collector and researcher of Cossack folk songs.

Chapter II. Following the expedition.

Chapter III. “The Cossack’s song - so that there is no end, no edge”

Conclusion

Application

Sources and literature

Introduction

The great value of the spiritual culture of the Cossacks is the manifestation of art in folklore: the peculiarities of folk speech, songs and dances. Cossack songs express the feelings and thoughts of the Cossacks, the most bright moments their lives: death, birth, work, wedding day, service, love. They are closely connected with traditions and rituals. As a rule, the content of the songs is simple and there is never anything crude in them. Usually it refers to close people and activities in the homeland, customs. For example, the bride declares her love: “Like a fish without water, / Such is a young woman without a dear friend, / Without a dear, without a Don Cossack.” ("Oh yes, well, like by sea ").

The Cossacks composed songs and legends: “You get up, wake up, Orthodox Tsar, / You are our Sovereign, Alexander Pavlovich! / Look, look at your Don troops, / They are standing in formation, training, / They are doing not the old way, but the - new". These songs are still passed down through generations and can be heard today on the banks of the Don. Such songs of the Cossacks were collected by the outstanding folklorist, musician, Alexander Mikhailovich Listopadov. We dedicate our work to his activities and research. In 2012-2013 the 100th anniversary of the first scientific research expedition (1902-1903) along the Don region with the aim of collecting Don songs is celebrated,epics, historical songsDon Cossacks. With the help of an expedition led by researcher A.M. Listopadov's Russian Don Cossack song gained universal recognition and respect. From November 1902 to June 1903 703 Cossack songs and 17 Kalmyk songs were recorded. In total, more than 1,100 songs were collected.

In the process of working on the topic, we learned that the researcher’s expedition also passed through our region, in particular, through the village of Esaulovskaya, which included the Tormosino farm. The farm songs of the elders were recorded and included in a collection of little-known Cossack songs.

In the person of A. M. Listopadov, we see not only an experienced and tireless collector, but also a thoughtful researcher of folk songs. His work is a most valuable contribution to the golden fund of Russian musical culture. This is not only a musical and ethnographic document, but also a historical monument; an artistic anthology, which, bypassing all sorts of processing, can directly enter the repertoire of our many choir groups who are now performing Cossack songs. We also have such ensembles in the Chernyshkovsky district.

P The song of the Don Cossacks is ardor of feelings and agility of thought. This is how it should be - to express the soul of this free people. However, the culture of the Cossacks is, first of all, education through traditions, which, fortunately, have been preserved, and hopefully will be preserved in the future.

“The Donskaya Steppe came out to meet

Surrounded by the rustle of grass,

And an old Cossack song

Showed her free spirit"

"Song about the Cossack song"

Serova Elena.

Chapter I . An ancient Cossack song is one of the manifestations of the life of the people. It was not in vain that they said: the Cossacks did not sing, they played a song. Performing this or that work on public folk festivals, holidays, representatives of the Cossack class, not only with their voices, but with their whole essence and movements, expressed their attitude to this or that event, whether they sang the beauty of their native land, the pride of the freedom-loving population, devotion to the Fatherland, or the ability to appreciate love and strong friendship.

Listopadov Alexander Mikhailovich is an expert and true connoisseur of Cossack song. Musicologist, folklorist, collector and researcher of folk songs (mostly Don) was born on September 18, 1873 in the Don village of Ekaterininskaya (now Krasnodonetskaya) on the Donets, Belokalitvinsky district, in the family of a teacher, died on February 14, 1949 in Rostov-on-Don. He received his musical education at the Novocherkassk Theological Seminary. In 1903-1905 he studied history and theory of music at the Moscow Conservatory. In 1904-1907 he attended lectures at the Faculty of Philology of Moscow University. In 1892-1902 worked as a farm school teacher in his homeland.

A.M. Listopadov actively participated in the collection and research of Don Cossack folklore; he recorded only those songs that were not knownother researchers.Since 1902, member of the musical and ethnographic commission in Moscow. Participant and leader of a number of folklore expeditions (1902-1904). From 1907 in Saratov (expelled from Moscow for participating in student revolutionary circles); in 1907-1915 teacher in secondary schools, 1915-1920 at the conservatory, in 1918-1920 a member of the conservatory management committee and head of the Gorono music section.

In 1920-1934. Donskoy's teacher pedagogical institute and a music college in Novocherkassk, in 1934-1936 a teacher at a music school and head of the folk music office in Stalinabad (Dushanbe). Since 1936 in Rostov-on-Don, director of the Don Cossack choir.

A.M. Listopadov is the author of publications on the song folklore of the Don Cossacks in the collections: "Proceedings of the Musical-Ethnographic Commission", magazines "Music and Life", " Soviet music"and other works: "Folk songs. Cossack song on the Don" M., 1903; "Songs of the Don Cossacks (together with S. Ya. Arefin)" M., 1911; "Songs of the Don Cossacks" vol. 1-5. M., 1949-1954

Alexander Mikhailovich devoted more than fifty years of his life to research work. 1902-1904 A.M. Listopadov organized an expedition to the Don villages to collect Cossack songs. This was the first scientific expedition. When developing the route, we were guided not only by the historical past of a particular locality, but also by the fact confirming the residence of the indigenous Cossack population with the unobscured continuity of tradition, in order to obtain more valuable material.

From the musical side, the collected song material is interesting. Before Listopadov began his research, there were no recordings of Don Cossack songs in print.

The expedition set out in the direction of settlement of the region from above and below - along the Don, with its large tributaries (Donets, Medveditsa, Khoper, Buzuluk); the total length of the route is more than 2500 miles.

Research began on October 18, 1902 from the village of Ermakovskaya and ended in Starocherkasskaya on June 8, 1903. In total, 99 settlements of six Cossack districts were surveyed: First Don, Donetsk, Khopersky, Ust-Medveditsky, Second Don and Cherkasy, as well as Rostov, Taganrog and Salsky districts, populated mainly by peasants. In the last of them, 17 Kalmyk songs with translated texts were recorded in the Kalmyk village of Denisovskaya.

How did the expedition work? When visiting a “song point,” they let the ataman of the next village or farm know about their arrival. The request, supported by the order of the Nakazny Ataman, to assist the expedition was fulfilled. Each village tried to maintain its reputation as a “song village”. The best songwriters from 40 to 70 years of age and older, sometimes in two or three groups with their own lead singer or “leader” and “vocalists,” were invited to the village board. “...To avoid bad fame, songwriters do their best not to lose face: they play games, make lists of their best songs with which they hope to show off...” [1 .]

All the settlements studied, of course, differed in the material collected. In a number of villages (Kachalinskaya, Ilovlinskaya, etc.) located near trade and administrative centers - Tsimlyanskaya, Ust-Medveditskaya, N.-Chirskaya, etc. - half of the population earned money from trade, carriage, etc. According to the collectors, it was not possible to find any valuable songs here.

A special feature of Listopadov’s method of work was the simultaneous recording of song lyrics and melody.

His first essay, “The Don Cossack Song,” was published in 1905. The collection included songs of various genres and melodic styles, as well as songs of different poetic content.

The military Cossack theme permeates both Great Russian and Kalmyk songs of the Don Cossacks. The Don song folklore reflects the history of the Russian state, in which the Don Army took an active part.

From 1936 to 1948 A.M. Listopadov led the choir of Don Cossacks, striving to put his theoretical beliefs into practice. Over half a century of collecting activity, he recorded about 1,800 folk songs, including about 1,300 Don Cossack songs. Researchers of Listopadov’s work noted that he did not want to put up with “predictions” of the disappearance of folk songs in the future: “His entire human being protested against this. And he, a musician, poet, ethnographer and citizen, did everything to perpetuate the song in its best, most true form" [2 .]

More than thirty years have passed since the publication of A. M. Listopadov’s five-volume legacy “Songs of the Don Cossacks” (1949 – 1954), which became a major contribution to Soviet musical folklore, was completed.

In 1911, a collection of songs of the Don Cossacks, based on the recordings of A. M. Listopadov, was published. It included 107 songs of different genres. For this collection, Alexander Mikhailovich was awarded a gold medal and a prize.

His articles and essays that appeared as a result of the expedition aroused great interest in the scientific and musical world. Before this, no one had studied in such detail the songs of the Don Cossacks, their manner of performance and the peculiarities of the Cossack dialect. The need for special knowledge prompted Listopadov to enter the Moscow Conservatory, where his teachers were S.I. Taneev, A.D. Kastalsky, and then to the Faculty of Philology of Moscow University.

Alexander Mikhailovich reproduced in his works the features of the Don Kalmyk dialect, both lexical and phonetic. He did not allow “literaryization” of the text, retaining characteristic repetitions of words, word breaks, interjections, additional syllables and sounds used in the chants of drawn-out songs. He strove, as he wrote, “to completely preserve the folk dialect, not excluding phonetic features.”

A. M. Listopadov, being a folklorist, was also a musician and artist. That is why he was able to restore what was lost, correct what was distorted, and put the fragments together into a precious whole.

Listopadov is a restorer of songs about Razin. They were formed by the Cossacks in the expanses between the Don, Volga, Caspian... But later they were not found on the Don. Those songs that glorified the dignity of the freedom-loving Cossack and whose ideological and artistic edge were directed against the landowners and their patrons were lost. Tsarism crushed the Cossack freemen. Its ideologists began to stifle the freedom-loving songs of the Cossacks. They were forbidden to sing, they were altered so that they served an alien cause... A. M. Listopadov managed to return priceless wealth to the people - songs about Stepan Razin. His research into Cossack singing is truly priceless for the current generation.

The first book contains epic songs (65 entries), the second - historical songs (159 entries).

Both of them are united into groups by plot, and the historical ones, in addition, are placed in chronological order. In the grouping of epic songs, the plot principle is expressed in the fact that successive sets of songs are dedicated to individual heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Duke Stepanovich and others. allocated to a special department epic songs about animals and birds.

Not all epic songs have a complete plot development, due to the slow development of the narrative in the developed form of a drawling song. Many songs only introduce the epic, further events which remain unsaid. However, some songs are completely complete episodes that do not require further development.

Many story themes, especially beloved by the people, are found in several versions. The lyrics clearly speak of the strength of the Don song tradition and the amazing memory of the people.

And M. Listopadov in his book writes the following about Cossack songs: “An excursion into the field of historical song creativity primarily examines the question of the role of the Don Cossacks in the creation of historical songs. Folk historical songs, the author concludes, “are in the true sense of the word folk history Russian state" [ 3 .]

Chapter II . In ethnographic materials there are recordings of songs of our fellow countrymen. Later, the idea was born of compiling a collection of Cossack songs from different historical periods, recorded on the territory of the modern Chernyshkovsky district, as well as, if possible, information about the researchers who carried out this work. However, the museum began to tackle this topic only in 2011 - after the arrival of an expedition from the Rostov Southern Federal University under the leadership of T.Yu. Vlaskina.

While doing this work, we turned to our ethnographic museum on the history of the Cossacks of the Chernyshkovsky region, to the director M.N. Lunochkin with the question “Didn’t the path of the explorer Listopadov’s expedition pass through our region?” Based on the material provided by Mikhail Nikolaevich, it was possible to find out that A.M. Listopadov’s expedition also took place on the territory of our regionNovember 26, 1902, in particular in the village of Esaulovskaya. Speaking about it, it should be noted that in the first years of Soviet power, due to “counter-revolutionism,” it lost its status as a village and became a volost village; then it was renamed Stepano-Razinskaya, and when a new network of districts of the Stalingrad region was created, the Tormosin farmstead was made the administrative center of the region. Until 1951, the village was territorially part of the Tormosinovsky district. During the period of filling the bowl of the Tsimlyansk reservoir, Stepano-Razinskaya was flooded, and the residents were resettled to nearby farms former district, the territory of which became part of the Chernyshkovsky district.

By dating the records of songs and settlements, one can trace Listopadov’s route through the Second Don District of the Don Army Region. There were two routes: railway - along the East Donetsk railway; and river - by steamship up the Don. However, when the expedition entered the 2nd Don Circle, frosts hit and the Don became frozen at that time. We had to move along the shore in cabs. To save time, the leadership of the expedition contacted the village and farm atamans in advance so that they could prepare a group of Cossack songwriters for the time of their arrival. An unspoken “competition” began among the village atamans for the title of the most “song” village. Echoes of that “struggle” were heard in Serafimovich (former district Ust-Medveditskaya village) in the 80s. of the last century from the dropped phrase: “... what is Esaulovskaya song song, but our village... is even better!!”

Esaulovsky ataman Anton Nikandrovich Kireev presented two groups of songwriters: the “stanitsa” group consisting of: Osip Emelyanovich Napalkov (1866), Mikhail Alekseevich Konyaev (1870), Boris Andreevich Burnyashev (1872), Zakhar Nikiforovich Viflyantsev (1864), Marfa Alekseevna Burnyasheva (1865) and "farm". At the same time, Alexander Mikhailovich especially noted the performers of Cossack songs - O. Napalkov, M. Konyaev, and Boris Burnyashev.

Of the 36 farms, the most songs were recorded in the Tormosin farm. Here are the names and surnames of Tormosinov’s songwriters: Aleksey Fedorovich Burnyashev (1839), Levon Fedorovich Burnyashev (1831), Mikhail Fedorovich Burnyashev (1827), Luka Grigorievich Burnyashev (1868), Emelyan Arkhipovich Chekalov (1819) /the performer’s date of birth is indicated in parentheses/. The result of the trip was recordings of the text and music of three “Don” epics:« Oh, it was far away, far away"(Ilya Muromets is attacked by robbers);“Oh yes, as we had”(Duke Stepanovich and three robbers) and“Oh, who, someone would find out”(Epic about Sevryuk) and 20 songs:"Ay, by the sea, by the sea"(Razin in a sea raid);“Oh yes, don’t make noise, that’s it, don’t be violent”(Razin near Simbirsk (1671);130. Ay, an unthreatening cloud has risen towards us.(Prut campaign of Peter (1711);“Not the King of Prutsk”(Battle at Kunersdorf);“Oh yes, no one knows, no one knows”(Tsar Alexander reprimands his brother for treason); "Oh, I wasn't walking through the forest" (You and I, my dear, will live in love);“Ay, you are my apple tree”(A friend comes to the butterfly);“Ay, the fellow was scratching his curls”(The baby went to the lady);“Oh, yes, I’m a good butterfly myself.”(Kruchina crushed the butterfly);“Ay, where do I go, girl, I go for a walk”(I have a friend in mind);“Ay, you sisters, girlfriends”(There is no truth in anyone);"Ay, my good nights"(Quarrel with a sweetheart); “Oh yes, well, my youth is gone”(The young man got a jealous wife);“Oh, the city of Cherkassk was close”(The girl leaves with her boyfriend);“Oh yes, well, like by sea”(Who, orphan, fed you, gave you water);“Oh yes, the girl was walking around the kindergarten”(My little one doesn’t have a shift);“Ay, a Cossack woman was born in grief”(Panochka lures the Cossack);“Oh yes, you are my side”(There is no greater freedom than Father Don Quiet);“Oh, my darling was leaving”(Lover repents of betrayal to her friend) and"Beyond the Urals, beyond the river" (Cossacks “walk” beyond the Ural River).”

As you can see, the themes of Cossack songs are varied: from epics and historical songs to songs of robbers, servicemen, love and family.

A.M. Listopadov recorded songs on a phonograph, followed by transcribing and transcribing them into sheet music and subsequent publication in collections in the pre-revolutionary and Soviet periods.

IN early 90s last century in Russia, the “Cossack Dictionary-Reference Book” by A.I. was first published. Skrylova and G.V. Gubareva. It mentions the village of Esauloeskaya, famous for its songbooks, and listed several names of Cossack song performers without indicating the source from which this information was taken. [4 .]

Chapter III . In our area, Don songs began to be revived in 90. . In the early 70s. XXcentury in x. In Tormosin there was a Cossack choir (directed by T.V. Shefatova), which performed some songs from Listopadov’s collections. With the departure of members from the choir original composition performers, new singers were unable to fully adopt the style of singing ancient Cossack songs, which remained only in recordingsA. M. Listopadova.

From the entire “Esaul list” to the endXXcentury in the repertoire of the Cossack ensemble Chernyshkovsky district house culture was performed only “How the Cossacks walk beyond the Don, beyond the river.” (“Beyond the Urals, beyond the river, the Cossacks are walking”).

Songs of the Don Cossacks, collected and recorded by ListopadovA. M. during the expedition, were published in collections with notes attached, so it is possible to restore them and include some of them in the repertoire of modern Cossack choirs and ensembles. Members of the former folk ensemble “Tsimlyanskaya Storonushka” (p. Chernyshkovsky) intend to implement this project.

This could be supported by phonograms recorded on a phonograph by Listopadov, but have they survived? If preserved, then we would have the opportunity to hear the voices of our ancestors a hundred years ago.

When developing tourist routes of the Chernyshkovsky municipal district, the Cossack museum proposed a project for one of them - “Bogatyrskaya Outpost” (a bend of the Tsimla River (route M-21), the core of which would be the epics recorded by Listopadov in the village of S. Razinskaya. The Cossack museum workers are planning create an exhibition dedicated to the expedition of A.M. Listopadov to the village of Esaulovskaya and perpetuate the names of songwriters and performers.

In every farm in our region you can find enthusiasts, master songwriters who sing Cossack songs, thereby continuing the traditions of their ancestors. Much has changed in the performance of the Cossack song today, but it is alive. We can listen to Cossack traditions thanks to Cossack folk art ensembles. Some creative groups in the settlements were created in the mid-90s. It was then that the rise and revival of the Cossacks, their traditions and values ​​were celebrated. It was interesting to meet with folk groups that perform Cossack songs. These are the people's collective of the Sizov SDK (leader A.V. Khilomanchik); folk collective “Stanichniki” of the Marine SDK (leader N.V. Burnyasheva); vocal group “Khutorok”, bearing the title of “national” (leader T.V. Sevastyanova); young pupils of the Tormosinov club “Don Falcons”. Cossack songs united people of different professions, of different ages, this is precisely the strength of the continuity of our Russian Cossack traditions, passed on from generation to generation. Unique works of the Cossacks appear before us, as if taken out of an ancient box; they are alive and beautiful.

Each song reveals Cossack wisdom. You can listen to the song, you can sing along, you can learn from it. A sounding song is difficult, almost impossible, to translate into notes. You not only listen to it, but also sing along, walking “in the footsteps”, along the song path along with the participants of these ensembles. In the Cossack polyphony there are three such tracks with branches. This is the voice of the singer (lower bass), the voice of his assistant ("middle", upper bass) and the soaring ornamental upper voice ("treble"). The soul of the Don polyphony is the treble. The basis of the Don Cossack song is male singing.

Cossack folk song groups participate in district and regional festivals: “Like in Rus'”, “Sholokhov Dawns”, and in competitions in other regions: Surovikino, Serafimovich, Srednyaya Akhtuba, Kletskaya, Rostov region and others. They are diploma recipients and winners of several competitions.

The main task of folk vocal groups is to preserve and recreate the culture of the Cossacks in all its diversity, as well as the return of traditional ethical standards to life, everyday life, and the process of raising children.

Conclusion.

For the first time in the history of the Russian Cossacks, the Don Cossack song was in the spotlight, this is due to the merit of the researcher and collector of songs, musician and folklorist Alexander Mikhailovich Listopadov. Hedid not want to put up with the “predictors” of the disappearance of folk songs in the future. His entire humanity protested. And he, a musician, poet, ethnographer and citizen, did everything to perpetuate the song in its best, pristine form.

Do they allow Ona epics and ancient songs of the Cossacks talk about their musical wealth? Undoubtedly. Firstly, the plasticity and completeness of broad melodies. Secondly, the modal diversity of the ancient Don song. Thirdly, a harmonious, consistent polyphonic system of presentation, which the author himself defines as “two-voice.” [ 5 .] Fourthly, the developed form of the song, rich in the variety of structures of the musical and poetic stanza.

At a scientific conference on the folk art of the Don Cossacks, held in Rostov in 1961, musicologist B. M. Dobrovolsky made a thoughtful analysis of Listopadov’s activities. He said the following words: “The five-volume edition of “Songs of the Don Cossacks” is certainly a wonderful monument of our Soviet culture and at the same time a monument to the colossal creative activity of A. M. Listopadov. All songs in this publication are edited and presented in such a form that most of them can be heard at any moment with our Soviet stage not as archaic, not as a bygone art, but as the living creativity of the Don Cossacks. This is the greatness and enormous significance of the work of a wonderful musician-artist.” [6 .].

8.Articles.Essays.Photos.

Volgogradsky

State Institute of Arts and Culture

Subject: "Ethnography and folklore"

On topic: “Folklore Collectors”

Completed

Group student

3RTP AND OZO

Makarov Gennady

Checked by the teacher:

Slastenova I.V.

VOLGOGRAD 2005

Collectors of Russian folklore.

Collectors and researchers of folklore have long paid attention to the “foldability” of Russian proverbs.

A study by I. I. Voznesensky “On the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.” is specifically devoted to the consideration of the poetic form of proverbs and genres close to them. (Kostroma, 1908), which has not lost its significance to this day.

At the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that “a proverb is mostly in measured or folded form” or that “the form of a proverb is a more or less short saying, often expressed in folded, measured speech, often in metaphorical / poetic / language,” but on the question of what exactly consists of “warehouse and measure”, there are still no detailed studies.”

In proverbs, not only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence. Here are examples of such proverbs: “If you endure, you will fall in love”; “Said and done”, “It was and it was gone”.

We will look at several areas of folklore collectors.

Since we started with proverbs and sayings, we will begin the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection “Proverbs of the Russian People,” was half Danish by blood and Lutheran by religion.

Returning from the voyage, Dahl was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on a crossroads. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: “Rejuvenates...

And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dal takes out a notebook and writes: “To rejuvenate” - otherwise cloudy - in the Novgorod province means to be covered with clouds, when talking about the sky, it tends towards bad weather. This recording became the seed from which 45 years later it grew Dictionary.

But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.

Dahl saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's talk and all the shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new, previously unheard words.

In 1832, V.I. Dal’s serious literary activity began. Capital magazines publish his articles under the pseudonym “Vladimir Lugansky” or “Cossack Lugansky” - after the name of his hometown. A gifted storyteller, a sociable person. Dal enters easily literary world St. Petersburg.

He agrees with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works quickly gain enormous success.

In the spring of 1832, Dahl again turned his fate around - he went to distant Orenburg as an official of special assignments under the military governor. Dahl is a collegiate assessor official of the 8th class, which corresponds to a major in the army.

going around Cossack villages and nomadic camps, Dal discovered for himself a special world of the Russian troubled borderland. He not only observed orders and customs, not only wrote down words, he acted, treated the sick, interceded for the offended. “Fair Dal,” the steppe people called him.

In Orenburg, he met with Pushkin, who came to the distant region to collect material on the history of the Pugachev rebellion. Together they traveled to the places where Pugachev’s movement began and asked old people. Then Pushkin advised Dahl to study literature seriously; he probably also suggested the idea of ​​taking up the dictionary in earnest.

Dahl's last meeting with Pushkin took place in the tragic December days of 1837 in St. Petersburg, where Dahl arrived on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend’s apartment and did not leave him until the end.

Pushkin was treated by palace doctors, Dahl was a military doctor.

Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded man throughout the last night.

The publication of an explanatory dictionary and a collection of Russian proverbs required huge amounts of money. Dahl made the decision to work and earn money, save for the future, so that in old age he would be able to devote himself to what he loves.

In the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled about Dahl: “Taking advantage of his position, he sent out circulars to all officials inside Russia, instructing them to collect and deliver to him local morals, songs, sayings, etc.” But it was not officials who made up Dalev’s collections with their offerings. The fame of Dahl, not only a writer and essayist, but also an ascetic, who took on a national cause on his shoulders, spread more and more widely. From all over Russia, well-wishers send him their meetings, lists of rare words and sayings. It was a time of awakening interest in society in everyday life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent out an “Ethnographic Circular” to all parts of Russia with a proposal to study the life of the population of all regions.

The time was ending when educated people knew more about the geography of France and the life of Ancient Rome than their own people. Magazines, one after another, inform the public about Dahl’s asceticism and ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, for the post of manager of a specific office.

“During his ten-year stay in the Nizhny Novgorod province, Dahl collected a lot of materials to geographically indicate the distribution of various dialects,” writes Melnikov-Pechersky.

The Nizhny Novgorod province presents a remarkable uniqueness in this regard.

Still would! The famous Makaryevskaya Fair was an event of European significance. Here trade routes of East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, manufactures and industrial goods from the West - everything that was produced in the vast expanses of the Russian Empire, everything that was imported from neighboring countries was exhibited and sold in the lowland space filled with shops near the mouth of the Oka. 86 million rubles in silver - this was the trade turnover of the Makaryevskaya Fair in those years.

The new era uprooted the peasants from their centuries-old homes and mixed them in a common cauldron, and thus the language that Dahl called living Great Russian was created.

Dahl perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dahl on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. “He grew up exactly in the village, was fed in the tents, was given water on the stove,” they used to say about him, “and how well he felt, how pleased he was when he was among our kind and intelligent people!”

Dahl was by nature oberuk - that is, he could handle both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whichever hand was convenient), he was just as oberuk in relation to his fate: we cannot I can only call it a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a collection of proverbs, including more than thirty-one thousand sayings, literary works occupying almost four thousand pages of text, numerous articles, a collection of songs, fairy tales, etc.

In his declining years, Dahl settled in Moscow. His house has been preserved - a spacious mansion on Presnya. Here Dahl’s titanic, ascetic work was completed - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary. Dahl devoted three to four hours a day to this activity for decades. He rewrote the collected proverbs in duplicate and cut them into “straps.” One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. Another one was pasted into the alphabet notebook for the key word - these are examples for the Explanatory Dictionary. Over half a century, Dahl explained and provided examples in about two hundred thousand words. If you derive the “average figure,” it turns out that with a twelve-hour working day, he wrote down and explained one word every hour for half a century. But he not only collected and recorded, he created, served, lived!...

The explanatory dictionary of the living Great Russian language contains: “Sayings written, conversational, common, general, local, regional, everyday, scientific, trade and craft, foreign language, learned and re-used, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into its wealth, you cannot believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

Now, from a temporary distance, we deeply thank Dahl for his tremendous work. A dictionary, essays on everyday life, a collection of proverbs are for us one of the sure keys to unlocking a bygone era. Dahl brilliantly accomplished his task - to give in words, proverbs, pictures of everyday life an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further it goes, the more valuable it will be for future generations. –

PRINCIPLES OF PUBLICATION. COMPOSITION AND STRUCTURE
SERIES “Epics” OF THE COLLECTION OF RUSSIAN FOLKLORE

The epic epic as an expression of the artistic genius of the Russian people is an outstanding monument of universal human culture. Entering the East Slavic cultural and ethnic core, acting as the custodian of the most ancient epic heritage, epics combine in their plot composition the features of epics before the state era Kievan Rus and the period of Moscow centralization. Imbued with the ideas of patriotic heroism, epic works were one of the most important factors ensuring the consolidation of the Russian nation and Russian statehood. The monumental images of heroes - warriors and plowmen, defenders and builders of the Fatherland - created by the epic have become symbols of our people.

The publication of epics in a series provides for the release of monuments of folk song Russian epic at a level equivalent to the level of academic publications of Russian writers.

The epics have completed their thousand-year development and almost entirely passed into the category of cultural monuments. For folkloristics today, the opportunity is open to create, on the basis of an exhaustive account of all epic material recorded in the 17th-20th centuries, not just another anthology, but a stock national library, a corpus of Russian epic epic, which will ensure the preservation and further popularization of one of the indigenous forms of national culture.

Specialist researchers in various social sciences still do not have a reliable basic library of Russian epics capable of satisfying their diverse needs, which leads to the deliberate preliminary nature of many conclusions, duplication of search processes, and ultimately to unacceptable waste of scientific effort. The publication of the “Epic” series of the Code of Russian Folklore involves the creation of a factual foundation for Russian epic studies.

The “Epics” series is the first in the order of creation of the Code of Russian Folklore. This is dictated not only by high social and aesthetic value of this circle cultural monuments, but also due to the scientific preparedness of domestic folkloristics for the publication of the named type of folk poetry ( big number research of epics in philological, historical, musicological aspects; a solid tradition of publishing epic songs, starting with the works of K. F. Kalaidovich, P. V. Kireevsky, P. N. Rybnikov, A. F. Gilferding). The volume of material - including data on archival accumulations, materials from expeditions of the Soviet era and current years - is realistically observable.

The scientific term “epics”, as well as the popular term “old times”, in the practice of research and publication of Russian folklore often, and not without serious reasons, come together, embracing all varieties of oral song epic, which together form the repertoire of performers of epics (Russian North) and epics songs (South of Russia, Volga region and some other areas), namely:

epics (heroic or heroic epics, epic novellas, epics on local themes, epics on fairy tales, comic epic); older historical songs (XIV - early XVII centuries); older ballads; songs from ancient Russian books, influenced by epic epics (apocryphal songs, or spiritual poems, parable songs, etc.); epic songs; ballad songs.

From the above-mentioned varieties of song epics, the “Epic” series combines works of category “A” into the “Epic” series on the basis of the similarity of content, stylistic and poetic form, plot-genetic relatedness, functional similarity, and stability of performing and musical traditions (with the exception of epic-like adaptations of fairy-tale plots, as well as stylizations - “novin”) and “D”.

Approximately a third of the epic epic material identified to date (meaning the total number of records - 3 thousand units of text-variants of works) has not been published and has not been involved in systematic research. The collections that were published are diverse, different in their concepts, variegated in composition, and do not have identical textual settings.

Science has publications of a consolidated type that relate to the early, romantic period of the development of folkloristics (for example, the I-V editions of the Collected Folk Songs of P. V. Kireevsky contain 100 epic versions for 35 stories about heroes) and therefore cover only a relatively small part of the currently known records; has classical collections of epic songs of various genres of regional type. These collections give general idea about the composition of the Russian epic epic or about the state of the local tradition of a certain time in the volume of material that became known to the collector, but do not create either an overall characteristic of the Russian epic or a holistic picture of the life of epic art in a given region throughout the entire record. There are also publications, which are not exhaustive, of the repertoire of one performer. There are anthologies of epic works about a number of heroes of the Kyiv and Novgorod cycles of epics, where the leading plots and their versions are presented in selected versions. There are also other valuable publications of epic folklore. But they do not pursue the goal of reuniting the monuments of the epic epic into a single series capable of concentrating in forms acceptable to a relatively wide range of readers all the thousand-year-old wealth of Russian epic culture and at the same time preserving maximum information about this type of Russian folk art. Recordings and retellings of works of folklore located in Old Russian manuscripts or publications of the 18th century, are transmitted while preserving the phonetic and morphological features of the source text, but with the elimination of archaic features of graphics and spelling (reference letters in a line; continuous writing.-

Russian folklore (V.S. Galkin. “Siberian Tales”) (review)

Soon the fairy tale will tell... Saying The magical world of fairy tales - it has been created since time immemorial, when man knew not only the printed word, but also the handwritten word. The fairy tale lived on and was passed on from mouth to mouth, passed from generation to generation. Its roots are deeply folk. And the fairy tale will live as long as the sun shines in the sky. Of course, the fairy tale of our time is not oral folk art, but an essay written by a professional writer. It inevitably differs both in form and style from old fairy tales. But the fairy tale has not lost its precious original qualities to this day. This is cunning, kindness, the search for the best, noble principles in a person’s character, a fierce determination in overcoming evil. I recently read Vladimir Galkin’s book “Siberian Tales” and rejoiced at the author’s success in developing Russian fairy tale traditions. The book about the author says that he is a teacher and has been collecting folklore for many years in order to compose new tales based on it. V. Galkin harmoniously combines the details of the real life of modern Siberia and its past with the magic of the fairy-tale world. Therefore, reading “Siberian Tales”, it’s as if you inhale the aroma of the perfumed bread leaven that many rural housewives still have, and you get burned by the fresh Siberian frost when you go out into the forest in the morning along with the heroes of the fairy tales. The plots of the tales are simple. For example, in the tale “Eremeevo’s Word” we're talking about about the old man Eremey Stoerosov, who lived in the village by weaving baskets for mushrooms and berries. But the thing is that during this work he loved, it’s interesting to tell different stories. Often his hut was full of people. Everyone wanted to listen to Eremeev’s tales. And the people gathered like this: “Some boy’s mother will come and make noise: “He’s listening to stories, but you won’t wake up in the morning!” But others shush her: “Take your little one, aunt, and don’t bother us!” Baba will shut up. He’ll stand and stand and sit down in the corner: “Evon says it so well!” With this short fragment, the author outlined two moral principles in the life of the Russian people: first, work is not an end in itself for him, and he always tries to somehow decorate it with a song or a word, in other words, to turn everyday life into holidays; second, when he sees someone else’s joy, he forgets his own difficulties and sorrows. But it cannot be done without envious people. There is a guy in the village, Oska Ryabov, nicknamed Ryabok. Everyone in the village dislikes him. Envious: “The neighbor will bring a scarf from the city to his wife for the holiday, Ryabok whispers around the village: “Why is Makar dressing Marya up? Still didn’t come out with a snout.” Of course, such a person was jealous of the good reputation of Eremey the storyteller and tried to tease him. He sits and sits, and suddenly, out of the blue, he blurts out: “They’re all lies!” Eremey treated this diameter calmly, although the villagers tried to intercede for him many times: “Eremey would drive Ryabka away, what is he putting up with?” And other people added fuel to the fire: “Oska must have cut him off!” The author describes situations where the different characters of the heroes are clearly manifested. Eremey is especially good here. He is not at all offended by Ryabok, but still kindly decides to teach him a lesson, or rather, to set him on the right path. To achieve his goal, Eremey chooses an old Russian fairy tale option: to ridicule the diameter through some intricate incident. He goes to a hunter he knows and asks him for several live hares, knowing that he knows how to catch them not with loops, but in holes. Eremey placed Zaitsev in a box and began to wait for the guests to arrive - to listen to his stories. The guests arrived, and with them the diameter of Ryabok. Here Eremey says: “I’ll catch hares, why waste time. I’ll read the conspiracy and they’ll come rushing in while I’m telling you stories.” Of course, only Ryabok doubted and agreed to argue with Eremey. Whoever loses bets a bucket of mead. But here too Eremey shows a generous nature: while the conspiracy was whispered, the guests treated themselves to his own mead. Of course, Eremey won the argument. While his hares jumped out of the box and ran away into the forest, everyone laughed at Ryabok. He had science for his whole life. You can think about this fragment more broadly. It can be seen that the hunter “sometimes hunted with a gun, but carried it more for force.” There should be more such hunters! And you main character Tale Eremey is not a vengeful and generous person. Even though he won the argument, he still put out his mead. And it was the bunnies who helped restore justice. I immediately remember a fairy tale about how a hare, in the role of a younger brother, took part in a race and won. That is, the author has preserved the Russian fairy tale tradition. In conclusion, I would like to say that we don’t have many folklore collectors. Therefore, every meeting with such a collector of seminal folk words as Vladimir Galkin is always a joy. .

FROM THE HISTORY OF COLLECTING SONG FOLKLORE OF THE SAMARA REGION

The history of collecting song folklore of the Samara region goes back more than a hundred years. The first publications were collections and scattered publications, which contained exclusively song lyrics without notographic recording of the tunes. In some works, the authors recorded the dialectal features of local dialects.

One of the first major publications dedicated to the song folklore of the Samara province was the work of a prominent folklorist-collector, researcher of folk art, translator V.G. Varentsov "Collection of songs of the Samara region". The book contains more than 170 lyrics of songs recorded by students of the Samara district school in several villages of the Samara province. The author supplements the collection with personal comments about the genre features of local folklore, notes the influence of immigrants from the Voronezh, Nizhny Novgorod, and Simbirsk provinces on the local song style.

Several Samara round dance songs from the Stavropol district were included in the famous “Collection of Russian Folk Songs” by M.A. Balakireva.

In 1898 The first volume of P.V.’s book was published. Sheina "Great Russian in his songs, rituals, customs, beliefs, legends, etc." . The publication includes many Samara wedding, dance, children's and other songs.

At the turn of the century, the largest work devoted to traditional songs over the past century was published - the seven-volume book "Great Russian Folk Songs, Published by Prof. A.I. Sobolevsky." The collection included a large number of Samara songs of different genres, recorded in the Buzuluk and Stavropol districts, the cities of Nikolaevsk, Syzran, and Samara.

` One of the first major works of the 20th century was the book of the famous folklorist, publicist, archaeographer P.V. Kireevsky. The multi-volume edition includes hundreds of song lyrics recorded in different regions Russia. Among them are the first published songs of the Samara province, collected in the middle of the 19th century by the Russian poet and lyricist P. M. Yazykov.

Of interest is the wide genre variety of song lyrics. Almost disappeared in the Samara region epic genre here it is represented by ten epics, military, Cossack, recruit, soldier, sailor, lyrical, wedding songs, ballads, spiritual poems are also recorded.

In the 20s and 30s of the 20th century, publications of song lyrics were often dispersed in local periodicals. Notable work towards popularizing traditional folk art was carried out by the folklorist collector R. Akulshin. So, in 1926, he published the texts of Samara ditties in the local newspapers “Krasnaya Niva” and “Music and Revolution”. Several soldiers' songs recorded by R. Akulshin in the Kuibyshev region were published by the Volzhskaya Nov newspaper. The same publication, in the “Folk Songs” section, placed on its pages 16 texts of ancient wedding and military songs collected by R. Akulshin in 1923.

Of interest is the description of an old Russian wedding, recorded by S. Lukyanov in 1929 in the village. Utyovka. The article contains expeditionary material describing the wedding event, presented in the words of the ceremony participants themselves, starting from the moment of matchmaking and ending with the second day of the wedding feast. The article also published the texts of some wedding songs performed by a local ethnographic ensemble.

In 1937, a collection compiled by V. Sidelnikov and V. Krupyanskaya “Volga Folklore” was dedicated to the folklore of our region. It includes expeditionary materials from 1935, reflecting the picture of the existence of oral folk art in the Kuibyshev region. The collection includes samples of local fairy tales, traditions, legends, more than 30 texts of historical, wedding, everyday and other songs, 354 texts of Soviet ditties. During the recording, the territory of the Volga coast was examined - the Krasnoyarsk region (villages of Malaya and Bolshaya Tsarevshchina, Shiryaevo), Stavropol region (villages of Russkaya Barkovka, Stavropol, Khryashchevka), as well as some villages of the Ulyanovsk region.

A large number of lyrics from songs from the Kuibyshev region were included in the 1938 collection "Volga Songs". In addition to songs dedicated to revolutionary-Stalinist themes, more than 20 texts of historical, lyrical, wedding and dance songs have been published. Among them are “The Nightingale persuaded the cuckoo”, “Widely Volozhka was spilling”,

“Oh, you garden, you are my garden”, “Oh, the fogs, you little fogs”, “Blow, blow, you little weather”, “Oh, father, drink, don’t drink me away”, “Mother sent Vanya”, “ Spinning wheel under the bench" etc.

Starting from the late 40s, songs from our region were published scatteredly in some major metropolitan publications, , , .

The first sheet music publications of songs recorded in the Samara region appeared in 1862 and 1876-77. We find three tunes in the collection of M. Balakirev, published in 1891. The composer took a special trip along the Volga; he was the first of the collectors who began recording songs not in the city, but in the village from the peasants. The author gives each tune his own treatment - harmonization.

Collector Lipaev I.V. in the newspaper "Russian Musical Newspaper" he published the tunes and texts of the wedding lament "You, my breadwinner, father" and the labor artel "Here he comes, he will go."

Three tunes, recorded in 1901 by A. Maslov, were published in the collection “Songs from the Volga Region” in 1906. In 1926, songs collected by R. Akulshin were published.

Some songs from the Samara Volga region were included in various collections of the 30s and 40s. One, recorded by V. Zakharov in 1934 in the Bor region, is included in his work “Thirty Russian Folk Songs”. Three songs were published by the Kuibyshev ODNT in 1944.

Three more, notated from a phonograph, were included in the Moscow collection "Ten Russian Folk Songs". Four tunes are included in V.I.’s brochure. Volkov "Seven Russian folk songs". Several song samples were included in other editions of , , , , , .

A large expeditionary work in the Samara Volga region in the late 40s and early 50s was carried out by a group of Leningrad folklorist researchers who were part of a scientific expedition of the Institute of Russian Literature of the USSR Academy of Sciences. Planned field work to collect and record works of local oral folk art was carried out in the Elkhovsky, Utevsky, Stavropol, Bogatovsky, Kinel-Cherkassky and Novodevichensky districts of the Samara region.

The result of the Leningrad expeditions was a number of publications dedicated to Samara song folklore, published in the late 50s and early 60s.

The main result of the expedition trips of 1948, 1953, 1954 was the collection "Russian folk songs of the Volga region", which became the first major publication dedicated to the folklore of the Samara region. As the newspaper “Soviet Culture” wrote, “...among the materials [of the expedition] are more than one and a half thousand Volga ditties,<...>ancient lyrical and playing tunes." The work has a foreword and an introductory article by N. Kolpakova, which reveals a number of issues in the history of the settlement of the Kuibyshev region, and also analyzes current state folk art in the region.

The collection includes 100 Russian folk songs. It is divided into two sections: Soviet songs (20) and ancient folk songs (80). Of the 100 songs published, 83 were recorded using a tape recorder and 17 by ear. It seems especially valuable that “...[the songs] were recorded directly from the voice of the people...” without the author’s musical processing or arrangement. Unfortunately, poetic texts edited according to generally accepted literary transcription, which deprived them of their original dialect flavor.

Work on collecting and studying Samara Russian song folklore noticeably intensified with the opening of the Department of Folk Choral Art at KGIK in 1979. Expeditionary trips to the regions have become more planned and systematic. Since that time, students and teachers of the university have carried out a huge research- hundreds of folk songs were recorded and analyzed, interesting material was collected on the history and ethnography of the Samara region, , , , , .

One of the notable publications among recent publications was O. Abramova’s book “Living Springs”. Along with song material collected in the Bogatovsky, Borsky, Neftegorsky, Krasnoyarsk regions, the collection contains information about traditional culture, ethnography of our region, and an analytical article “Cadenzas in folk songs of the Samara region.”

In 2001, a wonderful book was published in Samara, dedicated to the famous collector of Middle Volga folklore M.I. Chuvashev "The spiritual heritage of the peoples of the Volga region: living origins." It includes hundreds of samples of traditional Mordovian and Russian songs, recorded by the researcher from 1964-1971 in the northern and central regions of the Samara region. Of interest are Russian folk songs that exist in villages with a mixed Russian-Mordovian population. 49 song samples of different genres from Pokhvistnevsky, Shentalinsky, Chelno-Vershinsky, and other districts reflect the specifics of the existence of the Russian song tradition in a foreign language environment.

One of the latest publications dedicated to the folklore of the Samara region were collections published in 2002 by the Syzran College of Arts. Both works include original song material recorded in the Volga and Shigonsky regions. The songs presented in the collections reflect the genre specific features of local folklore; labor songs, wedding songs, lullabies, dance songs, round dances, lyrical songs and romances were collected and notated.

To date, published song material recorded by researchers over the years has hundreds of samples. A huge expeditionary work was done, the results of which were not only literary publications, but also priceless sound recordings made decades ago. But, on an all-Russian scale, the Middle Volga (and Samara as a component) song tradition still remains one of the most poorly studied. This is largely explained by the national heterogeneity of the local population, which definitely makes it difficult to find authentic Russian ensembles. However, songs that exist in conditions of “national diversity” are of great interest to the researcher. V.G. Varentsov in his book “Collection of Songs of the Samara Region” noted: “...those colonists who live surrounded on all sides by foreigners retain their special features much longer<...>, living among the Chuvash and Mordovians, they still retain their costumes and dialect." Thus, the primary tasks of folklorists and local historians are to collect new material in little-studied areas of the region, such as Khvorostyansky, Koshkinsky, Klyavlensky, Bolshechernigovsky, etc. and classify samples from an existing collection of records.

Used Books

1. Sokolov Yu. M. Russian folklore. M., 1941, p. 212.

2. See: Dal V.I. Proverbs of the Russian people. M., 1957 (in

text: D., p. ...Ch. Rybnikova M. A. Russian proverbs and

sayings. M., 1961.

3. Pages 3-6

V.I. Dal - “Proverbs of the Russian people.” 1-2-3 volume.

Moscow. "Russian book" 1993.

4.- The author’s work on the first two volumes was carried out by A. A. Gorelov (“Preface”, “Principles of publication. Composition and structure of the series “Epics” of the Code of Russian Folklore”); V. I. Eremina, V. I. Zhekulina, A. F. Nekrylova (textological preparation of the corpus of epic texts, “Principles of distribution of verbal material”, “Textological principles of publication”, passport and textual commentary, “Biographical information about the performers”); Yu. A. Novikov (plot-variant commentary). Authors of the article “Russian epic epic”:

5. ALLSoch.ru: Galkin V.S. Miscellaneous Russian folklore (V. S. Galkin. “Siberian Tales”) (review)

Literature

1. Abramova O.A. Living springs. Materials of folklore expeditions in the Samara region. - Barnaul, 2000. - 355 p.

2. Aksyuk S.V., Golemba A.I. Modern folk songs and songs of amateur performances. M.-L. - Issue 1. - 1950. - 36 pp.; Issue 2. - 1951. - 59 p.

3. Akulshin R. Village dances // Krasn. Niva. - 1926. - No. 36. - P.14-15.

4. Akulshin R. Our songs // Music and revolution. - 1926. - 7-8. - P.19-28.

5. Akulshin R. Rivals: From the life of the Samara province. // Music and revolution. - 1926. - No. 3.

6. Balakirev M.A. Collection of Russian folk songs. - S.-Pb., 1866. - 375 p.

7. Balakirev M.A. Collection of Russian folk songs. - St. Petersburg, 1891.

8. Bikmetova N.V. Russian folk song creativity of the Samara region. Anthology. Issue 1. - Samara, 2001. - 204 p.

9. Borisenko B.I. Children's musical folklore of the Volga region: Collection. - Volgograd, 1996. - 254 p.

10. Great Russian folk songs, published by prof. A.I. Sobolevsky. - T.1-7. - St. Petersburg, 1895-1902.

11. Volga songs: Collection. - Kuibyshev, 1938. - 115 p.

13. Volga folklore / Comp. V.M. Sidelnikov, V.Yu. Krupyanskaya. - M., 1937.-209 p.

14. Volkov V.I. Seven Russian folk songs: Arranged. for voice with f.-n. - M.-L., 1947. - 28 p.

15. Ten Russian folk songs (Choras a capella) / Notated from phonograms by N.M. Bochinskaya, I.K. Zdanovich, I.L. Kulikova, E.V. Levitskaya, A.V. Rudneva. - M., 1944. - 17 p.

16. Children's folklore of the Samara region: Method. recommendations / Compiled by: Orlitsky Yu.B., Terentyeva L.A. - Samara, 1991. - 184 p.

17. Dobrovolsky B.M., Soimonov A.D. Russian folk songs about peasant wars and uprisings. - M.-L., 1956. 206 p.

18. Spiritual heritage of the peoples of the Volga region: living origins: Anthology / Compiled by: Chuvashev M.I., Kasyanova I.A., Shulyaev A.D., Malykhin A.Yu., Volkova T.I. - Samara, 2001. - P.383-429.

19. Zakharov V.G. One hundred Russian folk songs. - M., 1958. - 331 p.

20. Kireevsky P.V. Songs collected by Kireyevsky / Ed. V.F. Miller and M.N. Speransky. - M., 1911-1929. - (New series).

21. Krylova N. Children's songs // Teacher. - 1862. -No. 24.

22. Lipaev I.V. Peasant motives: Note // Rus. music newspaper. - 1897. - No. 12. -Stb. 1713-1718, notes.

23. Folk songs: Wedding. Songs of military men and about military men // Volzh. new - 1935. - No. 8-9.

24. Folk songs. Fairy tales and tales. Chastushki // Volzh. New. -1937. - No. 8-9.

25. On silver waves: Russian folk songs recorded in the village. Davydovka, Samara region. / Under general ed. IN AND. Rachkova. - Syzran, 2002. - P. 108.

26. Songs recorded on the territory of Samarskaya Luka in 1993. /Zap. Turchanovich T.G., Transcript of Noskova A.K.//Vedernikova T.I. and others. Ethnography of Samara Luka. Toponymy of Samara Luka. - Samara, 1996. - pp. 84-92.

27. Popova T.V. Russian folk musical creativity: Textbook. manual for conservatories and music. schools Vol. 1-3. - M., 1955-1957, 1962-1964.

28. Rimsky-Korsakov N.A. Collection of Russian folk songs Part 2. - St. Petersburg, - 1877. - P.36-37.

29. Russian folk songs of the Volga region. Issue 1. Songs recorded in the Kuibyshev region. - M.-L., 1959. - P.6.

30. Russian folk songs of the Volga region. Issue 1. Songs Recorded in the Kuibyshev Region. - M.-L., 1959. - 195 p.

31. Russian folk songs: Collection / Comp. A.M. Novikova. - M., 1957. - 735 p.

32. Russian folk lingering songs: Anthology. - M.-L., 1966. - 179 p.

33. Russian songs. - M., 1949. -212 p.

34. Russian songs: Lyrics, performed. State rus. adv. choir named after Pyatnitsky / Ed. P. Kazmina. - M.-L., 1944. - 254 p.

35. Russian ancient and modern songs: based on materials from expeditions of the Union of Composers of the USSR / Comp. S.V. Aksyuk. - M., 1954. - 80 p.

36. Russian ditties / Comp. N.L. Kotikova. - L., 1956. - 317s.

37. Collection of songs from the Samara region / Comp. V.G. Varentsov. - S.-Pb., 1862. - 267 p.

39. Ancient Russian wedding // Volzh. new - 1935. - No. 10.

40. Stage interpretation of folklore (using the example of spring ritual songs): Method. recommendations / Author-comp. Terentyeva L.A. - Kuibyshev, 1989. - 110 p.

41. Terentyeva L.A. Folk songs of the Kuibyshev region: Method. instructions according to nar. music tv-woo. Part 1. - Kuibyshev, 1983. - 70 p.

42. Thirty Russian folk songs / Zap. V. Zakharova. - M.-L., 1939. - 112 p.

43. Proceedings of the musical-ethnographic commission, consisting of the ethnographic department of the Society of Lovers of Natural History, Anthropology and Ethnography. T.1. - M., 1906. - P.453-474.

44. Shane P.V. Great Russian in his songs, rituals, customs, beliefs, legends, etc. - T.1. - S.-Pb., 1898. - 736 p.

45. My apple tree... Songs recorded in the village. Surinsk, Shigonsky district, Samara region / West. and notation N.A. Krivopust. - Syzran, 2002. - P. 72.

And who worked on it more than many; a student who throughout his entire life collected bit by bit what he heard from his teacher, the living Russian language.” An outstanding connoisseur of the Russian word, V.I. Dal was a sensitive connoisseur and caring collector of Russian speech in its most diverse manifestations: an apt original proverb, saying, riddle, fairy tale, they found in him an attentive collector and careful...

A period in the history of epics, which is characterized by intense attenuation epic creativity. The historical epic, gradually forming and separating itself as a genre, entered the complex multi-genre complex of Russian folklore, becoming an expression of the ideological and aesthetic views of the people on phenomena of a political, state and international nature. Historical song. There is no common understanding of the term "...

For a general study of this topic, we need to solve the following questions: 1. The origin of Russian ethnography 2. The development and formation of Russian ethnography 3. Russian ethnography at the present time 1 The origin of Russian ethnography The development of human society was accompanied by the expansion of people’s knowledge about the world around them, the accumulation of information about neighboring and distant peoples Already in ancient times, along...

They are inherent in Russian culture itself at different stages of its history. It was these discords and contradictions that created the diversity of the national and spiritual life of Russia. 3. A modern view of the features of the sociodynamics of Russian culture The history of Russia is a set of cultural and historical paradigms. Berdyaev was right when he highlighted the alternation of “different Russias” in Russian history, understood as a change in striking...

Collecting folklore at a professional level is carried out by a special science - folkloristics, the science of folklore, which includes the collection, publication and study of works of folk art.

The emergence of folkloristics was preceded by centuries of experience in collecting (recording) works of folklore and processing them in the works of writers, playwrights, and composers from different countries.

Various organizations - scientific, educational, creative - are engaged in collecting activities. Amateur folklore associations are engaged in collecting in order to form a repertoire. A folklore expedition is a trip by a group of people for the purpose of collecting folklore. A folklore expedition can take place in the form of training sessions, performances, and festive celebrations. A folklore expedition is the best condition for self-realization for an amateur interested in folklore.

Types of folklore expedition activities:

1 - collection expedition, collection of empirical material with scientific study: notation, analysis, systematization, publication of results. Issues of training and propaganda are of a secondary nature.

Expedition-training is closely related to the “life” of folklore, using different forms its propaganda in various situations.;

- “oral” expedition. Training individual memory, comparison with collective memory, searching for a “personal” song, improving creative abilities.

Methodology for collecting folklore.

The experience of collecting activity shows that there are certain rules for collecting folklore. Compliance with them greatly facilitates the work of the collector and makes it more successful. However, knowledge of the methodology for collecting folklore does not exclude the personal initiative of the collector, his invention, and the ability to adapt to the performer and to the specific conditions of recording a folklore work.

One of the basic rules of the folklorist collector is find out in advance about what talented performers live in the village. The fame of good singers and storytellers usually extends beyond the village. In the practice of field folkloristics, there is a good rule: to seek information about talented performers from the local intelligentsia: teachers, club workers, and leaders of amateur performances.

How more talented singer or a storyteller, the more willingly he shares his art with collectors.

One of the rules of work for a collector is the requirement do not abuse the time and physical capabilities of performers. Since among those who know traditional folklore, many performers are elderly people.

Best for making good contacts Notstart offconversation with direct questions about folklore. Male performers, as a rule, like to talk about international events and production matters; female performers are more willing to engage in conversation when it comes to family or some everyday problems. Almost everyone loves to remember the most remarkable events in their lives. Such conversations are useful not only for establishing contacts, but also for collecting information for the biography of the performer, his creative portrait.

There is one general rule: direct recording of folklore must begin with a request to the performers to tell or sing their most favorite works. When the performer, as it seems to him, has exhausted the repertoire, the collector must continue to work with him, remembering that a good informant knows much more than what he remembered in the first conversation.

This is very important when working with a performer. How the collector formulates questions. Questions must be asked in such a form that the performer, on the one hand, understands them, and on the other, so that they prompt him to the details of the content or the sphere of existence of the folklore work. The next requirement of the methodology for recording folklore works is record folklore only at the moment of its performance.

There is another important methodological instruction: The informant must not be interrupted during the performance of works of oral folk art; the collector must not interfere with this creative act. All questions about the text are asked after its execution. If the collector does not have time to write down, he leaves empty spaces in the recording, where after the performance he writes in the missing words. Technical means will help solve this problem: tape recorder, video camera, voice recorder.

When recording a folklore work, it is also necessary to achieve naturalness the environment surrounding the performer and the very act of performing a folklore work. It’s good if the collector manages to record folklore in its real existence: on a holiday, at a wedding, during a farewell to the army, etc. But there are not many such happy situations. Therefore, most often it is necessary to reproduce natural forms of folklore performance. In this regard, you can pay attention to the importance of listeners. There is a desire to perform as best as possible. And exclamations of encouragement or censure are important in themselves. They are the most vivid indicators of the situation, how a given work exists here, how people feel about it, whether they believe it or not.

But listeners are not always necessary. When collecting conspiracies, it is recommended to work alone with the performer.

For collecting different types folklore has also developed certain methodological techniques. Most often you will have to record songs, ditties, small genres of folklore (proverbs, sayings, riddles), and children's folklore.

Songs are recorded with notes about their natural performance. If the song is choral, then it must be recorded from the choir, if it is solo, then from one singer; if the song is a round dance or a dance song, you should describe how the round dance was conducted and what kind of dances there were.

A certain difficulty in recording songs is explained by their genre nature. Frequent songs (dance, comic, satirical) are difficult to record due to the fast rhythm. Therefore, it is best to make a tape recording.

The song is one of the most productive genres of modern folk culture, therefore it is necessary to carefully record all the facts of its living existence. The collector should not take upon himself the task of critic and judge: his job is to take from the people what was created by the people.

The technique for recording ditties is not complicated. Chatushki is one of the actively existing genres of modern folklore. Students should not forget that there are different types of ditties: there are four-line ditties, two-line ones - “suffering”, such as “Semyonovna”, etc. You can use the technique of organizing a “competition” between ditties.

Proverbs and sayings do not have to be collected using the method of active questioning. It is recommended to listen carefully to the speech during communication, highlighting and writing down proverbs and sayings.

When collecting riddles, the method of active questioning is productive. The collector can act as a “competitor” here too.

When collecting children's folklore, it is necessary to remember, first of all, that not only children, but also adults know it. Recording folklore from children is both difficult and easy. In many ways, the success of the work of collecting children's folklore depends on the personality of the collector himself, who must be an artist himself, have the ability to transform, be able to cross the age barrier separating adults from children unnoticed by the children's group, enter as equals into the children's environment, not stand out in any way, together with children argue, be upset, rejoice. When collecting children's folklore, one should take into account its extra-textual connections. This is especially true for playful and ritual children's folklore.

These are the general, main methodological techniques for recording folklore; they represent, first of all, the basis for the initial activity of the collector. It is quite possible that after gaining a certain amount of experience, the collector will develop individual methodological recording techniques.

Basic requirements for recording folklore.

The recording of a folklore work should maximally reflect the text heard by the collector.

The work must be recorded without any changes, amendments, additions, or editing.

When recording a folk work, the collector must try to preserve all the exclamations of the performer, repetitions, addresses, inserted words, explanations, comments in the text and to the text, and even dialectical features of speech.

When recording a piece, you need to pay attention to the manner and features of the performance: lines, pauses, gestures, facial expressions. All this can be conveniently recorded on video.

If the work is recorded using a tape recorder, you must begin recording by indicating its title and full name of the performer.

Having recorded a folklore work, the collector must also write down information about the informant, i.e. fill out the peculiar passport, confirming the authenticity of the existence of the recorded sample. Only if you have a passport, the entry is considered complete.

When drawing up a passport, you must indicate the following:

The person from whom this work is being recorded (informant): full name, year of birth, nationality, education, profession, place of work, place of residence. If the informant moved from another locality, then indicate specifically when and from where;

Recording date (year, month, day);

Place of recording (region, district, village, city);

Under what conditions was the recording made (during a holiday, wedding, etc.);

Information about the collector (full name, year of birth, nationality, education).

How can you hear the voice of history? How can one sense the elusive, feel the intimate in its shades and emotional structure? Such a source of folk memory is a historical song - ancient, passed through various centuries and eras, reflecting various events and destinies.

Historical songs- epic and lyrical folklore works that reflect the people’s understanding historical events and phenomena and expresses an attitude towards them.

Folklorist, researcher of Russian epics and historical songs B.N. Putilov wrote: “A historical song as a work of art is characterized by a unique and free attitude to the factual side of history. A song is not a chronicle, and it is alien to the intention of any accurate, “documentary” reproduction of facts. On the contrary, what is most often striking is the discrepancy between songs and facts. Songs depict events not quite the same way, or even completely different from how they happen in reality. Sometimes they talk about events that are not at all famous history and in the history of the impossible. Historical figures perform actions in songs that they actually did not do and could not do. Among the song heroes there are also those whom history does not know at all...<...>Songs should be assessed not by the degree of fidelity to their facts, but by the degree of depth of penetration into reality and expression of its people's consciousness.”

Historical songs and chronicles

Historical songs are a genre of folk poetry. They arose during the period of struggle against the Mongol invasion, as evidenced by one of the earliest songs of this kind - the song about Shchelkan.

The events mentioned in the song are associated with the Tver uprising of 1327 against the governor of the Golden Horde Khan in Tver, Shevkal (Cholkhan, Shcholkan, Shchelkan Denevich, as Russian chronicles call him). Shevkal “created great persecution of Christians - violence, robbery, beating and desecration.” The uprising against Shevkal seemed to arise suddenly, spontaneously: “... a certain deacon from Tver, his nickname was Dudko,” took his horse to a watering place, “the Tatars, when they saw it, took it away.” Residents stood up for the deacon, a battle began, which turned into a rebellion: “And they rang all the bells, and the city rose up, and all the people immediately gathered... and the Tver residents called out and began to beat the Tatars, where they caught whom, until they killed Shevkal himself "

The chronicler reports that, having learned about the death of his governor, Uzbek, the Tatar khan, “in the winter he sent an army to the Russian land... and they killed many people, and took others prisoner, and set Tver and all Tver cities on fire.” All this is described in the chronicle.

The historical song about Shchelkan is both close to the chronicle story and in many ways different from it. The chronicle record is consistent and strict in the selection of facts and their description. The characters' actions are motivated, the plot in the chronicle is tense and dramatic. The chronicler steadily leads to the main conclusion: the grievances inflicted by the Tatars on the residents of Tver must inevitably lead people to indignation and explosion.

This conflict is also present in the song:

And Vtapory Mlad Shchelkan
He made a judge
Tver that old one
To that rich Tver.
And for a while he sat as a judge:
And widows are dishonored,
Red maidens are a disgrace,
Everyone needs to quarrel
Make fun of the houses.

Historical songs and epics

Historical songs appeared later than epics. They differ from epics in that their plot is based on actual events, important social and foreign policy conflicts. Many historical songs, like epics, were passed down from generation to generation, not only because they were a kind of memory of past events, but also because they turned out to be in tune with each new era. In the epics there is a hero-hero, whom it is impossible to imagine in life; many of his characteristics are exaggerated. The hero of a historical song is most often a real person. In early historical songs the influence of epics is especially noticeable. They reveal the inherent grotesqueness in the depiction of the enemy in epics. At the same time, unlike epics, the characters in them are not heroes endowed with superhuman strength, but ordinary people. Thus, in the earliest song about Shchelkan, the main force is the simple people of Tver.

Gatherers and Explorers

Historical songs were actively collected and recorded in the 18th- 19th centuries. The most famous and large collectors were:

Mikhail Dmitrievich Chulkov(1744-1792), Russian writer, folklorist; the result of his collecting activity was the book “Collection of Various Songs” published in 1770-1774 in four parts;

Pyotr Vasilievich Kireevsky(1808-1856), Russian folklorist, archaeographer, publicist. The historical songs collected by him were included in the publication “Songs collected by Kireevsky” in ten volumes, published in 1860-1874;

Vsevolod Fedorovich Miller(1848-1913), Russian folklorist, linguist, ethnographer, archaeologist, academician of the St. Petersburg Academy of Sciences. He systematized historical songs in his work “Historical Songs of the Russian People of the 16th-17th Centuries”;

Vladimir Nikolaevich Dobrovolsky(1856-1920), ethnographer, folklorist, linguist; His most famous works were the four-volume “Smolensk Ethnographic Collection” (1891 - 1903) and “Smolensk Regional Dictionary” (1914).

Records of folklore during the period of Old Russian literature (XI-- 391 XVII centuries). As was said in the previous chapter, Russian literature makes extensive use of folklore already at the earliest stages of its formation and development. Various genres of folklore (traditions, legends, songs, fairy tales, proverbs and sayings) are included in the chronicle collection “The Tale of Bygone Years” ( beginning of XII century), in “The Tale of Igor’s Host” (end of the 12th century), “Zadonshchina” (end of the 14th century), “The Tale of Peter and Fevronia” (XV century), “The Tale of Misfortune-Grief” (XVII c.) and other monuments of ancient Russian literature.

It is possible that individual folklore works were first written down before being included in literature. For example, scientists believe that “Zadonshchina” and “The Tale of Peter and Fevronia” were created on the basis of recorded folklore legends and stories. In manuscripts of the 16th century. Scientists have discovered records of fairy tales. From the 17th century The names of collectors of Russian folklore have reached us. For example, it is known that for the English traveler Richard James in 1619-1620. In the Arkhangelsk region, historical songs were recorded about the events of the era of “Troubles”. Another English traveler, Collins, wrote down two tales about Ivan the Terrible between 1660 and 1669. In 1681, folk lyrical songs were recorded by P. A. Kvashnin-Samarin.

In the 17th century works of almost all genres of Russian folklore were recorded. For example, the fairy tales “About Ivan Ponomarevich”, “About the Princess and Ivashka the White Shirt”, etc., epics about Ilya Muromets, Mikhail Potyk and Stavr Godinovich, many legends, songs, proverbs and sayings.

By the 17th century The tradition of compiling handwritten folklore collections is ascending. At this time, there were many handwritten songbooks among the people, which, in addition to literary poems with spiritual content, also included folk songs. From the 17th century A handwritten collection of “Tales or popular proverbs in alphabetical order” has reached us. The collection included about 2800 proverbs.

Collection, study and publication of folklore in the 18th century. The tradition of compiling handwritten folklore collections continues in the 18th century. There are especially many handwritten songbooks that contain literary and folk songs. The 18th century marks the beginning of the development of folkloristic thought in Russia. Scientific interest in folklore in the first half of the 18th century. associated with the names of V. N. Tatishchev, V. K. Trediakovsky and M. V. Lomonosov.

V.N. Tatishchev (1686-1750) turned to the study of folklore while working on “Russian History...”. He draws on folklore as a historical source. Tatishchev studies folklore from chronicles and in real life. Characterizing ancient Russian history, Tatishchev touches on the epics about Ilya Muromets, Alyosha Popovich, Nightingale the Robber and Duke Stepanovich. He was also interested in other genres of folklore. Tatishchev, for example, compiled a small collection of proverbs.

Unlike the historian V.N. Tatishchev, the poet V.K. Trediakovsky (1703-1768) had a philological, rather than historical, interest in folklore. Trediakovsky studies folklore as a source of poetic phraseology and the national metric system. In the practice of Russian literature before Trediakovsky's reform, syllabic versification was used. Having studied the features of Russian folk versification, Trediakovsky, in his treatise “A New and Brief Method for Composing Russian Poems” (1735), proposed a system of syllabonic versification, which was later used by all Russian literary poetry. Trediakovsky’s individual remarks about the peculiarities of the language of Russian folk poetry are interesting. In particular, he notes the constant folklore epithets “tight bow”, “white tent”, etc.

The works and individual statements of M.V. Lomonosov (1711-- 1765) are of even greater importance in the study of Russian folk poetry. Growing up in the North, Lomonosov was well acquainted with all genres of Russian folklore (fairy tales, epics, songs, proverbs and sayings). He also studies folklore from chronicles and handwritten collections. In his works, Lomonosov speaks of folklore as a valuable source of information in pagan rituals, talks about holding calendar holidays. Following Trediakovsky, Lomonosov studies folk versification and in his work “Letter on the Rules of Russian Poetry” (1739) further develops the theory of syllabic-tonic versification. Lomonosov studies the language of folk poetry to understand the national characteristics of the Russian language. Folk proverbs and he uses sayings in his works “Rhetoric” (1748) and “Russian Grammar” (1757). In his works on the history of Russia, Lomonosov uses folklore as a historical source.

IN mid-18th century V. S. P. Krasheninnikov is engaged in collecting folklore for historical and ethnographic purposes. In 1756, the first volume of his work “Description of the Land of Kamchatka” was published, which talks about the rituals of the Kamchadals and contains a number of folk songs. A.P. Sumarokov responded to S.P. Krasheninnikov’s book “Description of the Land of Kamchatka” with a review that expressed his views on folk poetry. Sumarokov evaluates the folklore of the Kamchadals mainly from an aesthetic point of view. The pathos of Sumarokov's review is the struggle for simplicity and naturalness in poetry.

The work of collecting Russian folklore intensified in the last third of the 18th century. If earlier folklore records were concentrated in handwritten collections, now they, like literary works, are published. For the first time, samples of Russian folklore were published in N.G. Kurganov’s “Pismovnik” (1796). More than 900 proverbs, about 20 songs, several fairy tales and anecdotes were published in the appendices to the “Pismovnik”.

In the future, separate collections are dedicated to various genres of Russian folklore. So, M.D. From 1770 to 1774 Chulkov published “Collection of Various Songs” in four parts, N.I. Novikov in 1780-1781. publishes in six parts “New and full meeting Russian songs", V.F. Trutovsky for the period from 1776 to 1795 published in four parts "Collection of Russian simple songs with notes". At the end of the 18th century. Less significant songbooks are also published:

“New Russian Songbook” (parts 1--3,

1790--1791), “Selected Songbook” (1792),

“Russian Erata” by M. Popov (1792), “Pocket Songbook” by I. I. Dmitriev (1796), etc.

The greatest value for us is the collection of N. Lvov -I. Pracha “Collection of Russian folk songs with their voices...” (1790). This is the only collection of the 18th century in which folk songs are published in their original form, without any editorial changes. In the period from 1780 to 1783, V. A. Levshin’s collection “Russian Fairy Tales” was published in 10 parts. Literary and folk works are presented here in processing. In addition to fairy tales of a magical and heroic nature, the collection also contains everyday fairy tales, in which satirical elements predominate. Folk tales in processed form are also published in the collections 394 “A Cure for Thoughtfulness” (1786), “Russian Fairy Tales Collected by Pyotr Timofeev” (1787), “Peasant Tales” (1793), in the collection of V. Berezaisky “Anecdotes of the Ancient Poshekhonets” ( 1798) etc.

Collections of proverbs appear. Thus, A. A. Barsov published “Collection of 4291 ancient proverbs” in 1770. N.I. Novikov republished this collection in 1787. Two years earlier, the poet I. F. Bogdanovich published the collection “Russian Proverbs,” in which folklore material was selected biasedly and subjected to significant literary processing.

The merit of Russian enlighteners of the second half of the 18th century. (N.G. Kurganova, M.D. Chulkova, V.A. Levshina, N.I. Novikova, etc.) in that they were able to correctly assess the importance of Russian folklore in the development of national literature, and did a great job of publishing ( however, in edited form) folk songs, fairy tales, proverbs and sayings. In their literary work, they used folklore to depict folk customs and morals.

In the person of A. N. Radishchev (1749--1802) Russian educational thought of the 18th century. receives its highest development, rises to a truly democratic, revolutionary consciousness.

Radishchev's revolutionary beliefs determined the special nature of his use of folklore, a fundamentally new understanding of folk art. Radishchev speaks for the first time about folklore as an exponent of the people's worldview. In folk songs, Radishchev saw “the formation of the soul of our people.” They, according to Radishchev, reflected not only the everyday side of life, but also the social ideals of the people. They serve to comprehend Russian national character. In “Journey from St. Petersburg to Moscow” (1790), Radishchev draws on folk art as material that reveals the true soul of the oppressed people, their painful situation under serfdom. It is for these purposes that in the chapter “Gorodnya” he cites the laments of the mother and bride for the recruit. Let us note that this is the first publication (albeit of literary treatment) of folk laments.

A.N. Radishchev uses folklore as a means of achieving not only nationality, but also genuine realism and deep psychologism. Thus, in the chapter “Copper”, against the background of a cheerful round dance song “There was a birch tree in the field,” Radishchev, in contrast, deeply truthfully, with great psychological force, depicts the picture of the sale of serfs. The problem of the folk singer, first put forward by Radishchev, is of no small importance both for literature and for folklore studies. The image of the folk singer is drawn by Radishchev in the chapter “Wedge” of “Travels from St. Petersburg to Moscow.” The singing of the old blind singer as depicted by Radishchev is true art, “penetrating into the hearts of the listeners.” Then to the topic folk singers Radishchev addressed it again in his poem “Songs sung at competitions in honor of ancient Slavic deities” (1800-1802). Here folk singers and poets act as the spiritual leaders of the people. It is curious that Radishchev’s “Songs...” in its poetic imagery and style have some features of “The Tale of Igor’s Campaign,” which Radishchev, like many of his contemporaries, considered not a literary, but a folklore monument.

From what has been said, it is obvious that the 18th century represents important stage in the prehistory of Russian folkloristics as a science. At this time, significant folklore material is collected and published, and its significance as a phenomenon of national culture is correctly assessed. Radishchev expresses a most valuable idea about 396 folk song as an exponent of the soul of the people.

At the same time, it should be noted that in the 18th century. Russian folkloristics has not yet formed as a science. Folklore was not yet recognized as independent object research, it is not yet clearly separated from the literature. In most collections, folklore works are placed together with literary works. Folk works published in literary form. At this time, specifically folkloristic research methods and techniques had not yet been developed.