Mordovian folk instruments. Lesson notes: Mordovian folk instruments

CHARACTERISTICS OF DANCE MELODIES AND MUSICAL INSTRUMENTS OF THE MORDOVIAN PEOPLE

The folk musical art of the Mordovians developed over many centuries in close interaction with the culture of neighboring peoples. In folk poetry, a musician and dancer are depicted as cheerful and cheerful people

The wide popularity of Mordovian musicians and dancers is evidenced by many materials from the folklore of neighboring peoples. In the Russian comic song "Kalinka-Malinka", recorded by AS. Pushkin in 1830, talks about how a girl washed her veil on the Boldino raft and asked her mother to bring a Mordvin with bagpipes for dancing.

In the traditional Mordovian music and dance art, which has organically grown into the modern life of the people, archaic forms that go back to the common Finno-Ugric musical culture have been preserved.

The dance creativity of the Mordovian people is characterized by developed collective and single (solo) performing traditions. According to their genre, traditional dances are divided into round dances, wedding dances, dance dances, non-ritual dances and those borrowed from Russians or neighboring peoples.

Some types of ritual songs, dances and instrumental dance tunes, associated in the past with the ancient animistic cult of sacred trees, revered animals, domestic animals and birds, others were preserved in the new function of non-ritual songs, dances and instrumental tunes.

Dance instrumental music occupies an important place in the musical art of the Mordovian people.

Traditional types of Mordovian dance instrumental music are closely related to certain types of musical instruments, systematized based on the vibrator (sound source): idiophones, membranophones, chordophones and aerophones

The source of sound for instruments of the idiophone class is an elastic solid material. They were used primarily to beat the rhythm of dances in an ensemble with other types of traditional instruments, as well as to create ritual noise as a talisman in many ritual actions.

The Mordovians used all kinds of household items that accompanied the dance as idiophones; buckets, basins, frying pans, stove dampers. In addition, the dance was accompanied by other musical instruments belonging to the idiomatic group - this is the shavoma - an instrument in an ensemble with others was used to beat out the rhythm of the dances. The sounding body of the "shawoma" was smoothly planed l a birch board 25-30 cm wide impregnated with resin and hemp oil. Using a belt, it was hung on the neck or elbow of the performer’s left arm. The sound was produced with special small wooden hammers and wooden spoons. In a number of places, other musical instruments are used solo and in an ensemble to accompany dances: spoons, a scythe, with the help of which the rhythm of a dance tune was beaten out with the blows of a nail or bolt, bells of various sizes, which were hung along with coins and ringing metal plates from a traditional women's costume. At ritual wedding dances, the ringing of bells, coins and metal records formed a kind of polyphony of two opposing dance rhythms, each of which had its own special structure and timbre shade, determined by the sharp sound of the ringing jewelry of women dancing in a circle, as well as the rattle. This tool was a smoothly planed wooden beam of cylindrical shape, 15-20 cm long, 7-8 cm in diameter, with a handle at one edge and teeth cut along the surface, with a wooden or metal bracket attached to the upper edge of the cylinder and its handle.

In membranophones, the sound source is a stretched membrane made of leather or paper. Several instruments of this class are used in the dance and musical life of the Mordovian people:

a) a comb from a spinning machine or a comb for combing hair, on which thin birch bark or tissue paper was placed;

b) tree leaf - a green leaf of birch or linden was applied to the lips, supported by two fingers. As a single instrument, it is used to imitate bird voices, and in an ensemble with other instruments to accompany dances or dance tunes.

The sound source of chordophones was one or more strings stretched between two fixed boards and set into vibration by plucking or friction. Such instruments that accompany dances or dance actions include the gusli and violin.

The oscillating body of aerophones is a column of air. The Mordovians had different aerophones with interrupters, longitudinal flutes and flutes with an internal slot, natural pipes without devices for changing the pitch of sounds

Such musical instruments that accompanied dance actions include:

a) bobbin - a spool of thread, one end of which is covered with a thin layer of birch bark or a piece of tissue paper. When playing, the closed side is applied to the lips, and the performer produces one sound by blowing.

b) acacia pod, which is half of a split acacia pod.

c) a whistle flute made of willow rod, 30 to 70 cm long, with a wooden or bone whistle bushing inserted into one end of the tube. The instrument was distinguished by rich performing capabilities. Dance tunes were performed on it.

d) a double clarinet made of two reed tubes of the same or different sizes fastened on the sides, with a length of 17 to 20 cm. In the past, ritual dances and instrumental accompaniments to ritual songs at weddings, shepherd’s songs, as well as everyday dance tunes were performed on such a clarinet.

There were two types of bagpipes, differing in the material from which they were made and the number of pipes. The bagpipes were played mainly for dance, ritual and everyday dance tunes.

Starting from the 19th century, in addition to the instruments listed above, accompanying dance and dance actions, harmonics were widely used - Vyatka, Saratov, khromka and Russian two-row.

Instrumental dance tunes among the Mordovians are divided into tunes, compositionally consisting of two parts contrasting in nature - a slow introduction (ushotks - “beginning”) and a fast main part (kshtima - “dance”, “dance”), and the melodies are indivisible in the nature of the parts, consisting of one dance or a whole dance action without an introduction.

The rhythm and structure of dance melodies are square and the size is usually even - two or four quarters.

Mordovian men often played musical instruments. Not a single holiday or event took place without musicians and playing instruments. These are: garze (m), kaiga (e) (violin); fam, ufam (m), puvama (e) (bagpipes); nyudi (m), nuday (e) (type of double clarinet). The Mordovian people believed that the most perky, cheerful and cheerful people are musicians, as evidenced by numerous songs and fairy tales. For example, in the Russian folk song “Kalinka-Malinka”, recorded by A.S. Pushkin in 1830, says:

I don't need it, mother.

No honey, no sugar,

No sweet apples

No honey gingerbread;

Bring me, mother,

Tatar with a violin,

Mordvina with bagpipes,

Single with pipes.

“Merry Hill” by M. Volkov – listening. The play, in its intonation basis, is based on the singing of the Moksha violin tune “Parkhtsi Pala” (“Silk Glistens”).

The teacher suggests choosing a rhythmic accompaniment for the play.

^ Musical repertoire

Calcemate. N. Boyarkin – hearing.

Zerezenkay (Moksha tune) – listening.

Fun slide (French). M. Volkov – rhythm.

^

Topic: “Rostuvan kud holiday”

One of the brightest winter holidays among the Mordovians was the holiday of Roshtuv (Christmas), which was not associated with Christian Christmas, but was dedicated to the patron spirits of domestic animals, birds, bees and revered trees. It fell just on the day of the winter solstice - December 25th.

In the songs sung at the Roshtuva (Christmas) holiday, the word “Kolyada” appears. No one can describe Kolyada because no one has ever seen it. They only know that it comes around Christmas and brings people wealth, happiness, and health. People composed many songs - “carols”, special majestic congratulatory songs, in which they asked Kolyada to bring success and health to their families, an increase in harvest, and more livestock offspring. Shepherds, children, and youth sang carols as they walked around the yards and brought joy and celebration. With their songs, carolers invited satiety and wealth into the house.

The holiday "Roshtuvan kud" ("Christmas House") was one of the main agricultural holidays, celebrating fertility and abundance in the new year. The more people flocked to the “Christmas House,” which was rented for the entire period of celebration (from 10 to 14 nights, starting from the night of December 24 to 25), the stronger the effect of good wishes. It was also necessary to come neatly and smartly dressed.

The holiday began with songs in which patron spirits were addressed so that they would help increase the number of domestic animals and help grow a rich harvest. The first night was dedicated to the patron saint of pigs, so pork was always served, and the most respected people were presented with a boiled pig's head. The pig was considered sacred, embodying the fertility of the earth.

While the ritual meal of the elderly and the singing of songs lasted, the youth were engaged in solving riddles:

After lunch and solving riddles, the tables were cleared. All those present were divided into 2 groups: the first - “Rostuvan kudon kshtiykht” (dancers of the Christmas house) and the second - “Rostuvan kudon vanykht” (spectators of the Christmas house). The dancers were held in special esteem - their parents took pity on them and cared for them, fed them better and did not burden them with work during the Christmas holidays.

One of the most favorite games at the holiday was the game “Ofton kshtima”. The guy dressed up as a “bear”: for this he was dressed in a fur coat turned inside out, felt boots on his hands and feet, his face was stained with soot, and his eyes were blindfolded. At the same time they forced me to dance. “The bear was trampling, marking time, jumping awkwardly, swaying from one foot to the other.” The “bear’s” task is to catch one of the dancers in order to transfer his role to him. If he caught a girl, then a guy he knew would help her out.

^ Musical repertoire

Roshtuva kudon teiter (Girl of the Christmas House). N. Boyarkin – hearing.

(E) Kalyada, kalyada! (Kolyada) - singing.

(M) Ay, kalyada, kalyada (Ay, kolyada, kolyada) - singing.

Kalyadamo (Carol). N. Boyarkin – hearing.

Kishtima roshtuvan kudoso (Dance in the Christmas house). N. Boyarkin – rhythm.

^

Topic: “Winter gatherings”

When winter set in with blizzards, blizzards and frosts, the Mordovians’ favorite pastime during the long free evenings was winter gatherings. They gathered in a clean, spacious hut, lit a torch, which burned and crackled merrily, sang songs, danced, and competed in performing perky and mischievous ditties. They loved to compose and tell fairy tales about good and evil rich people, about animals, magical-fantasy and everyday ones. The characters in the magical fantasy tales were the pagan deities of the Mordovians - Viryava (patron, mistress and mother of the forest), Vedyava (patron, mistress and mother of water), Purginepaz (god of thunder), Nishkepaz (god of bees), Paksyava (patron, mistress and mother fields), as well as positive heroes (heroes) and negative ones (snakes, witches, evil king).

The men were engaged in wood carving and were famous for their skill. Their hands made wooden cups (noodles (m), wakan (e)), spoons, mugs, ladles, ladle (kechene (m), kolgan (e)), salt licks (saldorks (m)), spoon trays (for storing spoons) in the form of a silhouette of a bird floating on water, or a duck. The salt shaker with such an image was processed especially carefully, because had a symbolic meaning - profit for the house. And the dugout tub - par - was intended for a dowry. It was decorated with an ornament consisting of geometric shapes, combs, and imitations of Mordovian ancient jewelry.

While singing songs, the girls spun yarn; they were famous for their skill in embroidery. Linen items made up the bulk of the bride's dowry. Already from the age of six, girls, under the supervision of their mother, began to weave and embroider. Over the long autumn and winter evenings, the girl managed to prepare from 35 to 50 women's shirts, tablecloths, and towels for the wedding. (Show a reproduction of the painting by I. Sidelnikov “Mordovian embroiderers. Dowry”).

At the wedding, the prepared items were displayed for inspection, and the girl’s skill and skill were judged by them.

The song “Roman Aksya” (“Romanova Aksinya”) highlights not only the girl’s skill, her diligence, dexterity, but also her beauty. Here the ideal of a girl is shown - the harmony of the external and internal world. Many demands were placed on the bride-to-be. Preference was given to being beautiful, strongly built, with a cheerful character, hardworking and neat. They also looked at the wealth of the family and the behavior of the parents. They said:

The ideal of a beauty: black eyes, like the color of bird cherry, rosy cheeks, slender, with good long hair, with endurance. strong legs. The gait should be firm, sweeping, similar to the “gait of a foal.”

Attention was also paid to how the dandy was dressed: her legs were wrapped first in linen, then in bleached woolen canvas; up to 12 scarves hung behind the belt; on the neck and arms - jewelry; 6 or 8 stripes are embroidered on the dress. (Show reproductions of paintings by Mordovian artists).

The entire costume was decorated with rich patterns. (Show reproductions of the costume and jewelry, name the details of the costume.) Pay attention to this point: the more embroidered stripes on the dress, the more hardworking and beautiful the girl was considered. And this was very labor-intensive work: women’s holiday shirts were decorated with embroidery on the forearms, sleeves, armpits, etc. Almost the entire costume was made by the girl’s hands, and her hard work, perseverance, neatness, and patience were judged by her clothes.

Mordovian women were very fond of various jewelry made from beads, beads, chains, coins, bells, and bells. And during the festive dances, all these ringing decorations served as musical accompaniment to the dance. There was even a proverb: “First you hear the muzzle, and then you see it.”

^ Musical repertoire

(M) Roman Aksya (Romanova Aksinya) – hearing.

Spinner. N. Boyarkin – hearing.

Snowman. Music Gene. Suraeva-Koroleva, Art. G. Belozerova - singing.

Yalgan kshtimat. The dance is over. Yalgan kishtemat. N. Kosheleva - rhythm.

(Tat.n.p.) Shoma bass - singing.

III quarter
^

Topic: “Welcoming spring”

This quarter continues to introduce children to the traditions and rituals of the Russian and Mordovian peoples dedicated to welcoming spring.

The Mordovians dedicated many songs, riddles, and proverbs to spring, the sun, and birds.

Introducing children to the Erzya song “A sezyaka, sezyaka” (“Soroka, forty”). This song was sung at the holiday, which was very affectionately called Maslenitsa. They asked her for contentment, abundance, health. Her assistant was the Sun, omnipotent, reviving all living things to life. What should have been done to show that he was respected and relied upon? People baked butter pancakes, burned circular fires, and danced in circles.

Birds brought spring on their wings - this is what our ancestors believed. And they created calls that “called” the early birds home. March 22 is the day of the vernal equinox. On this day they called for spring for the second time. And when the lawns were a little clear of snow, the Mordovian youth gathered to play. The participants were divided into 2 groups, both of which depicted flocks of larks. At first, the flocks “flyed” in a circle (in pairs), pretending to be children of birds, circling, flapping their “wings,” and resting. At the sign of the presenter, who imitated the singing of a bird (or played the whistle), the birds “took off” again. Suddenly the flocks met, joyfully greeted their “friends” and went on “vacation” together. During the “rest”, the larks competed in dancing, singing songs, etc. (according to N.I. Boyarkin).

In the spring, during the period from Maslenitsa to Easter (for 7 weeks), spring coril songs (pozyarat) were sung in Mordovian villages. Once upon a time, these songs were dedicated to the Mordovian patroness Viryava - the goddess of water, childbirth and fertility. The girls came to the river bank and sang songs. While performing these songs, the singers believed that the best singing was strong, loud singing. Mordovian singers were distinguished by their very emotional, strong singing. The main role was played by the lead singer, who led the main voice; the rest listened to her and carried on their own melody.

For a long time, the Mordovians have enjoyed special respect for the willow. The willow was the first to announce that nature would soon come to life and warmth would come. According to legend, willow had the ability to give health and vitality to people and animals. Palm buds were considered healing. They were given to chew for toothache and fever. Therefore, the Mordovians had a ritual of “willow whipping.” On March 21, “the willow turned silver,” and from March 21 to March 28 was Palm Week. The ritual was performed on Palm Sunday and was associated with the patroness of the spring wind and the mother of the willow - Varmava. The day before, on Saturday, they asked Varmava “for the health of the girls, to save them from bad fame, so that the bread would be produced, the cattle would multiply.” In the evening they gathered for a party, they also invited married guests... First they were treated, and then they were “chased” through the gauntlet: girls and boys stood in a row, whipped each guest with willow branches, and wished them health and family happiness amid laughter and cries.

Early on Sunday morning, when the sun was just rising and the first rays were gilding the roofs of houses, young people in groups walked around the houses and whipped sleeping children with willow branches. At the same time they sang:

They also whipped livestock with willow to keep them healthy. They whipped and sentenced (poems for improvisation):

Game "Verban whip".

Children stand in a circle. The leader runs with a willow in his hands and touches the children. At this moment, the children must jump: whoever does not have time to jump is the one who drives.

In order for the beautiful Spring to enter the Mordovian region as a full-fledged mistress, young people went to the river bank, sang songs, had fun, and praised Varmava (the patroness of the wind):

There were round dances here. Round dances are the oldest entertainment among different peoples. They were taken when song, dance and play were not yet separated. Mordovians, like many other peoples, especially revered and loved the Sun. To appease the patron of the Sun, to show their admiration and love, people stood in a circle symbolizing the sun. People hoped that the good forces of nature would hear them and help them in their affairs.

^ Musical repertoire

Ducks are flying. M. Volkov – hearing.

(E) And sezyaka, sezyaka (Soroka, forty) - singing.

(E) Mastyan chi, paro chi (Maslenitsa day, good day) - singing.

About mom. Music N. Mitina, Art. A. Gromykhina - singing.

(E) Pozyara. Arr. N. Boyarkina – rhythm.

(Tat.n.p.) Ak kalach (White kalach) – listening.

^

Topic: “Journey to Musical Theater”

In Saransk there is a musical theater named after. I. Yaushev, on whose stage you can see opera performances, operettas, and ballets. It can be explained to the guys like this: “If speech, movement, gesture are combined with singing, then this is a musical stage work. In it, the artists sing more than they speak. And when they sing everything they could say, it becomes an opera. It is composed by a composer based on a playwright's play. If the artists do not speak or sing at all, but express everything that needs to be said in movement, gestures and dance, then this is ballet. It is composed by a composer and choreographer. Each type of performing arts has its own types of theatre: dramatic theatre, opera and ballet theatre, musical comedy theater” (N.M. Sitnikova).

Illarion Maksimovich Yaushev is an Honored Artist of Russia and People's Artist of Mordovia, a talented singer and bass. His performances emotionally and lovingly sounded Mordovian folk songs in different parts of Russia. He created the image of Prince-voivode Archilov in the first Mordovian performance - the musical drama “Litova”.

Litova is a Mordovian girl, aka Alena Arzamasskaya, who came to Mordovian lands from Arzamas. She is Alena Temnikovskaya, who stood at the head of the popular uprising in Temnikov. Litova came from Stenka Razin with a “golden letter”, in which the peasant chieftain called on everyone to fight against the rich oppressors.

The play “Litova” was written by the Mordovian poet P.S. Kirillov, and the music was composed by L.P. Kiryukov. The premiere of the musical performance took place on May 27, 1943 at the Saransk Opera and Ballet Theater. The Great Patriotic War was going on, and the theater, with its performances, helped people find hope in an early victory.

^ Musical repertoire

Litova's aria from the opera “Litova” by L.P. Kiryukov (in Spanish R. Bespalova) – hearing.

Trolleybus. G.G. Vdovin, Art. E. Ruzhentseva - singing.

Pek Vadrya (composition by the group “Pek Vadrya”) – rhythm.

^ IV quarter

Topic: “Beauty Birch”

Birch is one of the most beloved trees of the Mordovians. The birch was considered a sacred tree and they glorified it in their songs.

“Luganyasya kelunya” (“There is a birch tree in the meadow”) - singing. Demonstration and learning of dance movements.

May is the time of flowering, grass growth, bright sun. And on these days, filled with light, smells and warmth, the holiday “Trotsyan chi” (“Trinity Holiday”) took place. At first they went into the forest for the “Trinity tree” - a young birch tree, tore armfuls of flowers, young maple or birch branches. All this was necessary to decorate the home: flowers and grass were laid on the floor, windows were decorated with branches. By noon, families went to the field, where they sang songs and asked nature to help them grow a good harvest. At the same time, they threw the eggs up. Whoever throws higher should have a richer harvest. Around the “Trinity tree” they danced, sang and danced.

^ Musical repertoire

Kuzhon Morot (Round Dance). N. Boyarkin – hearing.

Luganyasa kelunya (Birch tree in the meadow) – singing.

(E) Kavo cerat tikshe ladit (Two guys are mowing the grass) - singing.

Sunny bunnies. Music Gene. Suraev-Korolev, Art. A. Gromykhina - singing.

There is a birch tree in the meadow. Arr. A. Putushkina – rhythm.

(Tat.n.p.) Urmekuch (Spider) – rhythm.

^

Topic: “Summer visit us”

When summer came to Mordovian land, the children rejoiced at the sunny days, the warm river, and the tan. We happily went into the forest to pick berries, mushrooms, sorrel and wild onions. They ran through the streets and invited warm and quiet rain. They loved to process peas and sunflowers, feed chickens, goslings, guard and graze them.

In the summer, Mordovian children made toys for themselves from wood, clay, pebbles, and plants. The girls made themselves rings and bracelets from water lily flowers. The boys made a whistle-flute (“veshkema” (e), “vyashkoma” (m)) from a willow twig; they wove baskets for mushrooms and berries, and bast shoes from linden bast.

The real holiday of summer was haymaking. The whole family went to the meadows: the kids brought fresh water, the teenagers and the adults mowed the grass, stirred and raked the hay, and stacked it in shocks. During their holidays, Mordovian children played various games: “Crow,” “Cockerel,” “Squirrel,” and “Cat and Mouse.” In these games, a driver (“crow”, “wolf”, “cat”) was chosen who must catch the fleeing “chickens”, “squirrels”, “mice”.

During grazing, children together with adults competed in making and guessing riddles, performing nursery rhymes, ditties, and songs. On a summer night, the songs were heard far around the area (according to the book “Folk traditions of raising children among the Mordovians” by N.F. Belyaeva).
, singing along.

Kindergarten. Music N. Mitina, Art. Tovarkova - singing.

Apple tree. Arr. A. Putushkina – rhythm.

^

PREPARATORY GROUP

Singing

• 
  continue to introduce Russian and Tatar folk songs, develop the skill of performing them;
• 
  continue to introduce Mordovian folk songs in the volume of sixths, sevenths with the structure m.3 + b.2 + b.2 + m.3; b.2 + m.3 + b.2 + b.2 of various genres: lyrical, epic, wedding songs, carols, etc., to develop the skill of performing them;
• 
  continue to introduce songs by composers of Mordovia;

• 
  work on expressiveness, melodious intonation, clarity of text pronunciation;
• 
  learn to sing on a support;
• 
  learn to sing purely within the fifth-seventh;
• 
  develop the skill of “chain” breathing;
• 
  develop the skill of bourdon two-voice singing;
• 
  develop the skill of improvising figurative movements of characters, the skill of staging songs at your own discretion.

Methodological assistance in mastering the regional and national-regional component of the content of music education

in educational institutions of the Republic of Moldova

Based on materials from the section"Musical art" (head of general editor – N.M. Sitnikova) encyclopedia"Mordovia" (chief editor A.I. Sukharev) (2003)

ChapterII

Musical works, genres of folk and professional musical art of Mordovia

Mordovian folk musical art

Basic genres of M. science V. m. joint intonations are non-ritual long epic and lyrical. songs (kuvaka morot - m., e.), songs of farmers. calendar (sokaen-vidien morot - m., sokitsyan-viditsyan morot - e.) and b. including wedding (chiyamon morot - m., wedding morot - e.). Thin in depth. generalizations of reality, ideological and thematic. diversity, uniqueness of musical and poetic images they refer to the top of the muzzles. adv. music lawsuit They reflected the original music with the greatest brightness. the genius of the people, his thin. involvement in the f.-u. cultural traditions of the past, centuries-old connections with the music of the Turkic, Slavic. and other peoples. M.Sc. V. m. joint performing form, rich in its polyphonic style (see Mordovian folk polyphony), became the central component of the entire tradition. music culture of the people. It preserves the most ancient melodies. forms of single singing, connection. with chants, and instrument. playing music with specific bourdoning, which largely determined ethnicity. sound ideal. For joint singing is characteristic of several. vocal manners: intonation in the manner of leisurely choral storytelling (Morams-Korkhtams - M., Morams-Kortams - E.) parts of the mythological. fairy tale songs (“Mastor chachs - koes chachs” - “The earth was born - the custom was born”, “Litova”, “Atyat-babat” - “An old man with an old woman”, “Tyushtya”, “Samanka”, etc.); joint chanting (Morams-Rangoms - m., e.) carols, Maslenitsa and Trinity songs, rain invocations, connections. with ancient rituals of asking for benefits from mythological people. patrons; soft dynamic leveling the sound of choral voices (lyaponiasta yuvadems - m., valanyasto morams - e.) in songs-dialogues with birds, songs about the signs of spring, family and everyday ballads; in the manner of bright, dense expressive sound management (yuvatkshnems - m., morams-pizhnems - e.) in the long songs of the Christmas house, moksh. wedding celebrations in the form of good wishes, shoksha songs, timing. to the ice drift.

M.Sc. V. m. was fundamental. influence on the formation of facial style. prof. music culture. It is especially noticeable in the works of composers - collectors of folklore. music by L.P. Kiryukov G.I. Suraev-Korolev, G.G. Vdovin N.I. Boyarkin M. n. V. m. has not lost her thinness. values: it sounds in nar. everyday life, found a new life on the concert stage as in tradition. form, and in a variety of arrangements and treatments. Texts: Mordovian folk songs. - Saransk, 1957; Mordovian folk songs. -Saransk, 1969; Monuments of Mordovian folk musical art - Moksherzyan folk musical art monument - Moksherzyan folk musical art monument: In 3 volumes - Saransk, 1981 - 1988; Väisänen A. O. Mordwinische Melodien. - Helsinki, 1948. Lit.: Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; It's him. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Boyarkina L.B. Vocal diaphony of the Erzya wedding // Music in the wedding rites of the Finno-Ugric peoples and neighboring peoples. - Tallinn, 1986; It's her. The art of joint singing of the Mordovians of the Trans-Volga region // Folklore in the works of Mordovian writers and composers: Tr. NIYALIE. - Saransk, 1986. - Issue. 86.

L.B. Boyarkina

From tunes, connections. with the labor activity of society, the following are known: working rhythms - laconic, stable formulas, performed on special. percussion instruments (idiophones), sometimes accompanied by singing; hunting noises are rhythmically disordered. signals produced by struck, struck and scraped idiophones for the purpose of driving game to hunters; hunting melodic signals intoned on natural trumpets (m. toram, e. dorama) before the start and end of the hunt. The most developed among the Mordovians was the ritual instrument. music, in which there are 2 main differences. class of tunes: non-program and program. The first include widespread. in the recent past, polytimbre noise tunes accompanied episodes of family and calendar festivals, carnival processions, performed on trees. and metallic idiophones, timbre and dynamics were given decisive importance. The tunes were divided into panemat (from panems “to drive away”), which performed cathartic, and veshemat (from veshems “to ask”) - karpogonic. functions. Program tunes are characterized by a variety of genre types. The roots of the tunes go back to the ancient cults preserved among the Finno-Ugric peoples in mythology, song poetry and prose, choreographic. and applied art, ritual and entertainment forms of traditions. adv. theater They have stable program names, connections. from the name cult animals, birds and sacred trees, which are often replaced by metaphors (old man bear, silver-winged swan, etc.; see Cult of trees, Cult of animals). According to the character and timbre of sound, figurative and thematic. content, musical-style features and forms of interaction with tradition. Songlike tunes form two genre groups: zoo- and ornithomorphic. Zoomorphic program-image. and onomatopoeic. character - ovton kishtemat (bear dances), in the past they were intoned on bagpipes and nudes, nowadays - on the violin and harmonica, accompanied by shaken metallics. and wood struck idiophones, as well as a mortar and pestle (a symbol of fertility). Performed at weddings and in the Christmas house. That means they were different. melodic improvisation. Ornithomorphic tunes of 3 genre types: guvan unamat (cooing of a dove), which symbolically reflected ancient forms of thinking; narmon seeremat (bird calling) - Maslenitsa calls of migratory birds, intoned on ocarina flutes; narmon kishtemat (bird dances) is the most developed type of ornithomorphic pieces, performed in the past on the nyudi, garzi and gaiga, and now on the violin, balalaika and harmonica accompanied by dancing in the Christmas House. The structure-forming function in them is performed by melodic-rhythmic. Components.

Among other genre types is a ritual instrument. music, most preserved among the Mordovians-Shoksha and Erzi, tunes of a symbolically programmatic nature pazmorot (from paz “patron”, Moro “song, tune”), which existed in the Ozks, dedicated. animistic sacred cults trees and water. The latter, along with the main function - the propitiation of Vedyava - other elements of magic are also inherent, for example. cleansing after the wedding night. Pazmorot, based on the nature of performance and musical-style features, are divided into dance (connected with the cult of water) and drawn-out (connected with sacred trees), which also include songs under the same names.

From a non-ritual instrument. 2 genre types of music are known: wanyqian morot (shepherd songs), a type of music-philosophy. tool. lyrics, and one morot (songs of youth). The first ones are intoned in nude; according to music the warehouse are improvisations based on drawn-out and dance tunes, as well as melodic signals. The second ones are performed at circle games, gatherings and autumn scatterings on nyudi, garzi, gaiga; their program names. similar to the name plays f.-u. and Turk. peoples, communications with the names of girls and boys, animals, everyday life.

In modern In the everyday life of the people, tunes and borrowings are common. from neighboring peoples: Russians, Tatars, Chuvash. Tool. music significantly influenced the formation of song melody and polyphony, ethnicity. timbre ideal (see Mordovian folk polyphony). Lit.: Boyarkin N.I. Folk musical instruments and instrumental music. - Saransk, 1988; It's him. The phenomenon of traditional instrumental polyphony (based on Mordovian music). - St. Petersburg, 1995.

N.I. Boyarkin

Known idiophones are: kaldorgofnema (m.), kalderdema (e.). There are 4 common types. The colliding idiophone is a smoothly planed maple board, length. 170-200 mm, width. 50-70 mm, thickness. OK. 10 mm with handle length. 100-120 mm, dia. 20-30 mm. 2 small maple plates were attached to both sides of the handle using strips of rawhide. The struck idiophone is a 4-sided box made of solid wood (linden, maple, birch) on Wed. dl. 170-200 mm, width. 100-120 mm with handle at the bottom length. 100-150 mm. To harsh tar. rope, attached from above by a leather strap; a piece of oak knot, lead or an iron nut was suspended from the outside. The struck idiophone is a hollow cylindrical, open at one end. or a 4-, 6-, 8-sided box made of solid wood with a handle (dimensions like the 2nd type). Unlike the 2nd type, a piece of wood or iron was suspended inside the box. Scraper idiophone - smoothly planed. cylindrical maple timber shapes long 100-150 mm, wide. 70-80 mm with a handle at the bottom and a cutout. along the edges of the cylinder with teeth. A piece of wood was attached to the top of the cylinder and handle. rectangular frame long. 250-300 mm, width. 100-150 mm or later - metallic. bracket several smaller in size, in the middle of the cut a flexible tree was tightly strengthened. vibrator plate (kel). In order for it to hold better and be springy, a transverse rod was attached in the middle of the frame, and a metal one was attached to the bracket. kernel. When the frame or bracket rotated around the beam (for which the performer made circular movements above his head), the plate jumped from one tooth to another, while emitting strong clicks, which at a fast pace turned into a crackling sound. Kalchtsiyamat (m.), caltsyaemat (e.) - 3, 5, less often 6 trees. ash plates of unequal length, fastened. bast or leather strap. When hitting wooden plates. With hammers or spoons they made sounds of different pitches. The timbre of the instrument resembled a xylophone. Shavoma (m.), chavoma (e.) - planed smoothly. and drink a composition of pine resin (resin) and hemp oil, birch or spruce resonant. a board cut against wood. with hammers or spoons. The ends of the belt were attached to the edge of the board (sometimes the board was covered with a belt for strength), by which it was hung either on the neck just below the chest, or on the arm or shoulder of the performer bent at the elbow - shavitsa (“beater”). Paige (m.), bayaga (e.) - massive wood. board made of oak, birch with rounded edges. angles length OK. 150 cm, wide. 40-50 cm, thick. 12-15 cm. They hung it on a gate installed in the middle of the village on a hillock, and beat it with an oak stick, using wood. with a hammer or pestle, notifying residents of important events. Paygonyat (m.), Bayaginet (e.) (shaken idiophone) - metallic. bells, string. on a cord or hanging freely on a frame. According to archaeol. and ethnographic data, the following are known. types of bells: forged, truncated-conical. iron with hemispherical tongue, strong ringing and a rich range of partial tones; hemispherical made of non-ferrous metals with a spherical reed, high register ringing; cylindrical with low sound; oblong shape with indeterminate timbre. The instruments were used in ritual dances, forming a unique timbre-dynamic. polyphony. Baidyama (m.), lyulama (e.) - a rod (stick), on top of the cut a figurine was cut out in the form of a horse’s head and 5-7 bells and rattles were hung from it. Accompanied by various rituals. Tsingoryama (m.), Dinnema (e.) - heteroglottic. Jew's harp, preserved to this day among the Karatai Mordovians. It is a horseshoe-shaped iron plate with a flexible steel tongue in the middle. The instrument was played primarily. dance melodies.

Among the chordophones, the following are known: gatiyama (m.), gaidyama (e.) - a slightly bent birch or maple board long, widening towards one end. 800-1,000 mm, width. on one end, the Crimea rested on the floor, 120-150 mm, on the other - 30-50 mm. One string, usually made of harsh tar, was pulled onto it. thin rope (thick rope), sheep or, less commonly, vein intestine. Between the board and the rope, at a distance of 200-250 mm, an inflated bovine or pork bladder was inserted, which served as a resonator. A bow-shaped bow made of willow or bird cherry twig (without a stretching mechanism) with stretched resin. with a harsh thread they made one low sound. Dance tunes were performed on the instrument in an ensemble with other instruments (puvamo, garzi), where the gatiyama was assigned the role of a bass rhythmic instrument. In an ensemble with a nude, she was tuned to a bagpipe bass tube, resulting in a kind of “three-part bagpipe.” Garzi (m.), kaiga (e.) - a lute with a total length. 615 mm, length. resonator box - 370 mm, width. at the bottom end - 180 mm, top. - 155 mm. To the top. and lower There were 3 triangular or round holes on the boards of the instrument. The instrument had 3 horsehair strings and a bow without a hair tension mechanism. It was characterized by a fifth or fifth-octave system. Det. the instruments were 2/3 the size of a regular garzi.

Aerophones are the most numerous. muzzle class. tools. Seasonal ones were made primarily. in the summer from plant stems, tree leaves (strelkasta morama - m.; lopa - m., e.; keluvon givgornya - m.; keel tsyokov - e.; sentien morama - m.; sandeen morama - e.; shuzhyaren morama - m. .; olgon morama - e.; zunder - m., e.). Vyashkoma (m.), veshkema (e.) - a flute made of linden or willow bark, wood, as well as reed, less often - bird bone. There were 2 types. Kuvaka vyashkoma (long flute) length. 500-700 mm. Usually 6 vulture holes were cut out on it (vaigal is boiled). Instrument without whistle device. Nyurkhkyanya vyashkoma (short longitudinal flute) with or without 2-3 fingerboard holes and a whistle device. The flute has been known to the Mordovians since the Bronze Age. Sevoneni vyashkoma (m.), keven tutushka (e.) - clay hollow whistle made from fired. clay with or without 2 playing holes in the shape of birds, domestic and wild animals. It was used during calendar and family holidays for intoning program tunes. The instrument has been known since the beginning. 1st millennium AD e. Nyudi (m., e.) - clarinet made of 2 hollow reed tubes, length. OK. 200 mm, dia. 6-8 mm with cutout. on them with long vibrator tongues. OK. 20 mm and 3 finger holes on each barrel. Both tubes were usually mounted in wood. a bed that was inserted into a cow or bull horn, which served as a resonator (sometimes a cone-shaped birch bark was used as a resonator). The instrument had a strong sound with a slight nasal tint and was distinguished by varied dynamics. It produced extended 2-voice drawn-out melodies and fast dances. tunes. The type of nude existed among the Mordovians in the middle. 2nd millennium AD e. Fam (m.), puvamo (e.) - bagpipes. There are 2 known species. The first one had 2 melodies. reed tubes, by design and name. matching nudes, and 2 bass tubes for extracting low bourdons. The second - ozks fam (m.), ozks puvamo (e.) - was used at molyans for the performance of ritual tunes. Unlike the first type, it did not have bass bourdons. Polyphons nudi and fem had a great influence on the formation of developed forms of Mordovian folk polyphony. Torama (m.), dorama (e.) - a signaling instrument. Based on manufacturing technology, there are 2 types. The first was made from a birch or maple branch. from 800 to 1,000 mm, the edges were split longitudinally and the core was hollowed out from each half. Then both halves were applied and wrapped with birch bark. In this case, one side of the tube was made wider, the other side narrower. The second type was rings of linden bark, inserted. into each other and sealed with wood glue in the form of an expanding tube. To eliminate gaps, the seams of the tube were doused with varnish. Dl. tool length ranged from 500 to 800 mm. A small cup-shaped recess was made on the narrow side, or in later versions, metal was occasionally inserted. mouthpiece. Both species did not have vocal openings. The sounds of the overtone series were extracted on them. Syura (m.), syuro (e.) - a trumpet made of a bull or cow horn. The mouthpiece was either cut into the shape of a small depression or made from a spool of thread. In the latter case, one side of the coil was ground off, inserted into the hole of the horn, and a recess for the lips was made on the other. The syuro was used as a signaling instrument (by shepherds), as well as a ritual one, supposedly capable of driving away evil spirits.

From ser. 19th century The balalaika and harmonica have entered the life of the Mordovians everywhere, borrowings. from the Russians. Lit.:Vertkov K.A. and others. Atlas of musical instruments of the peoples of the USSR. - M., 1963; Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; It's him. Folk musical instruments and instrumental music. - Saransk, 1988; It's him. On some principles of studying musical instruments from archaeological sites of the Volga Finns // Problems of ethnogenesis of the peoples of the Volga-Kama region in the light of folklore data. - Astrakhan, 1989.

N.I. Boyarkin

Musical instruments. Idiophones: 1 (a, b, c, d, e, f, g, h, i). Self-sounding idiophones on women's clothing from archaeological sites (Ryazan-Oka and Murom burial grounds). 2. Idiophone amulet (Tomsk burial ground, Zarya village). 3 (a, b, c, d). Paygonyat (m.), Bayaginet (e.), from archaeological sites (a - Chulkovsky burial ground, b - Zarya settlement, c - Elizavet-Mikhailovsky burial ground, d - Starobadikovsky burial ground). 4 (a, b, c). Kaldorgofnemat (m.), kalderdemat (e.). 5. Kalchtsiyamat (m.), caltsyaemat (e.). 6. Shavoma (m.), chavoma (e.). 7. Paige (m.), Bayaga (e.). 8. Baidyama (m.), lyulama (e.). 9. Tsingoryama (m.), dinnema (e.). Chordophones: 10. Gaitiyama (m.), Gaidyama (e.). 11. Garzi (m.). 12. Kaiga (e.). Aerophones: 13 (a, b, c, d). Flutes from Mordovian and Finno-Ugric archaeological sites (a - Black Mountain site, b - Piksyasinsky mound, c - older Kashirskoye fortification, d - Shcherbinskoye fortification). 14. Sendien morama (m.), Sendien morama (e.). 15. Kuvaka vyashkoma (m.), Kuvaka veshkema (e.). 16. Vyashkoma (m.), veshkema (e.) (with a whistle device). 17. Sevoneni vyashkoma (m.), keven tutushka (e.). 18. Zunder (m., e.). 19. Nyudi (m., e.). 20. Fam (m.), puvamo (e.). 21. Torama (m., e.), drama (e.). 22. Syura (m.), syuro (e.).

Developed types of vocal and instrument. polyphony - 2-, 3-, 4-voice bourdon polyphony (from the French bourdon - thick bass, from the Greek poly, phone - lit. polyphony) - developed on the basis of historically early types (monody type heterophony and diaphony) in the process of development narrow-volume melody of ancient songs and instruments. genres. Bourdon polyphony is inherent in all genre types of lyric poetry. and epic. songs, most instrument genres. music. Melodious. the features of each voice are determined by their relationship with ch. voice - the voice of a song (Moro Weigel - e.). Melodious. The style of the tunes of bourdon polyphony is associated with the melody of the most ancient recitats. style of funeral and wedding lamentations and lullabies, many of which have survived to this day. elements of f.-u. music community. A striking feature of the polyphonic texture is the stable forms of sequences of second-tert consonances. Various techniques of poetic vocalization. text (multi-temporal word breaks, repetition of words, additions, vowels, etc.) are an important element of it. Large composition Single intoned choruses are important.

Nar. music The art of the Mordovians has absorbed certain, mainly. late, style types of Russian. polyphony, manifested in the diverse Russian-Mordovian. music forms. Texts: Mordovian folk songs. - Saransk, 1957; Mordovian folk songs. -Saransk, 1969; Monuments of Mordovian folk musical art - Moksherzyan folk musical art monument - Moksherzyan folk musical art monument: In 3 volumes - Saransk, 1981-1988; Väisänen A.O. Mordwinische Melodien. - Helsinki, 1948. Lit.: Boyarkin N.I. Traditional styles of Moksha-Mordovian polyphony //Finno-Ugric musical folklore and relationships with neighboring cultures. - Tallinn, 1980; Boyarkina L.B. Heterophony in calendar and family ritual Erzya-Mordovian folk songs // Music in rituals and labor activity of the Finno-Ugric peoples. - Tallinn, 1986; It's her. The art of joint singing of the Mordovians of the Trans-Volga region // Folklore in the works of Mordovian writers and composers: Tr. MNIYALIE. - Saransk, 1986. - Issue. 86; Zemtsovsky I.I. Music of the Mordovian oral tradition: monuments and problems // Ibid.

L.B. Boyarkina

Musical and stage works by composers of Mordovia

N.M. Sitnikova.

"LITOVA", historical drama P.S. Kirillova. Prototype chap. The heroine is S. Razin’s associate Alena Arzamasskaya-Temnikovskaya.

One of the poetic variants of "L." formed the basis for one. national music dramas. Libretto by the author. Music L.P. Kiryukova. The 1st production took place on the music-drama stage. theater 27.5.1943 on erz. language (1st Ave. at the All-Russian show of performances, 1945). Dramatic ed. A.A. Shorina, text - N.L. Erkaya, instrumentation by L.S. Mandrykina. Dir.-const. Shorin, conductor Mandrykin, choirmaster Kiryukov, choreographer P.N. Litoni, art. B.I. Roslenko-Rinzenko. Ch. roles played by: Litova - V.M. Berchanskaya-Pogodina, A.F. Yudina Vaska - Kolganov; Varda - honorable artist of the MASSR A.D. Marshalova G. A. Sakovich Syreska - I.P. Arzhadeev; Kaneva - M.M. Fomicheva Tyagusheva; Archilov - honorable art. MASSR I.A. Roslyakov Subsequent productions: in 1959 on Erza. language, director-director IN AND. Knyazhich in the role of Litova - R.M. Bespalova-Eremeeva; in 1969 in Russian. language, director-director Yu. V. Cherepanov in the role of Litova - Bespalov-Eremeev; in 1985 in Russian. language, director-director Ya.M. Livshits in the role of Litova - O.A. Chernova

"L." - the first musical stage performance. produced, created based on national material. The predecessor of the muzzles. operas. It widely presents choral scenes (ritual, play), in which muzzle intonations are used. adv. songs. Musicians are individualized. characteristics ch. heroes Litova and Archilov. Created images, music and decor. the design corresponds to the specific historical era. Lit.: Shibakov N. Composer Leonty Petrovich Kiryukov. - Saransk, 1968; Aleshkin A.V. Pyotr Kirillov: Essay on creativity. - Saransk, 1974; Folk singers and composers of Mordovia. - Saransk, 1975; Sitnikova N.M. Pages of musical history. - Saransk, 2001. Lit.: Shibakov N. Composer Leonty Petrovich Kiryukov. - Saransk, 1968; Aleshkin A.V. Pyotr Kirillov: Essay on creativity. - Saransk, 1974; Folk singers and composers of Mordovia. - Saransk, 1975; Sitnikova N.M. Pages of musical history. - Saransk, 2001.

A.V. Aleshkin N.M. Sitnikova

N.M. Sitnikova

N.M. Sitnikova

N.M. Sitnikova

N.M. Sitnikova

N.M. Sitnikova

N.M. Sitnikova

Genre diversity of Mordovian music

N. M. Sitnikova.

Intonation-rhythm. and harmonious D. uses the means in his vocal and instrument. works of G. G. Suraev-Korolev (vocal cycles, concert for piano and orchestra, sonata for piano, preludes-improvisations). Lit.: Veise-jazz - 2002: First international. jazz music festival. - Saransk, 2002.

V.B. Makhaev, N. M. Sitnikova.

Express. capabilities of the Russian orchestra adv. instruments are related to its composition. Among the products - both small plays (“March on Mordovian Themes” by Voinov (1964), 2 pieces for orchestra (1964) and “Mordovian Dance” (2002) by Vdovin), and productions. large form: 2 multi-part suites by Voinov - 1st, “Forest Scenes” (1926) and 2nd (1951), “Chunes” (1975) Vdovina, suite (1986) N.V. Kosheleva “Temnikovskaya” (1990) Mitina. Other music forms were used by Voinov in the overtures “35 Years of October” (1952), “The Year of 1917” (1961) and by Vdovin in “Sinfonietta” (1988). M. for r. n. And. composed and self-made. composers of Mordovia: V.M. Kislyakov - 4 suites for orchestra and concerto for accordion and orchestra; known processing of Nar. melodies for accordion (authors: A.P. Putushkin, V.I. Strokin and V.A. Beloklokov). Texts: Concert pieces for accordion. - M., 1979. - Issue. 33; Collection of works of Mordovian music for button accordion. - Saransk, 1993; Odinokova T.I. Mordovian music in elementary school. - Saransk, 1994. Lit.: Folk singers and composers of Mordovia. - Saransk, 1975.

V.P. Buyanov

N.M. Sitnikova

N.M. Sitnikova

The themes of P. are varied. Patriotic themes occupy a special place in the songwriting of Mordovia composers. P.: “Blossom, my country” by Kiryukov (lyrics by D. Uraev), “Our land, Mordovia” by G.I. Suraev-Koroleva (lyrics by P. Gaini, authorized translation by B. Sokolov), “Mordovia” by Vdovin (lyrics by I. Kalinkin), “My Mordovia” by Kosheleva (lyrics by M. Troshkin), “Hail, Mordovia!” G.G. Suraev-Korolev (lyrics by the author), “Sunrises over the Moksha River” by Kuzina (lyrics by Zadalskaya), “Poem about Mordovia” by Terkhanov (lyrics by the author). Teme Vel. Fatherland war and the defense of peace are dedicated to P. “For Peace” by Kiryukov (lyrics by A. Martynov), “Roslavl Red Banner” by G.I. Suraev-Korolev (lyrics by N. Aleksandrov and V. Kostrikov), “The Night Passed” by Vdovin (lyrics by P. Kirillov), “At the Tomb of the Unknown Soldier” by Kosheleva (lyrics by Uezdin), “Szeged Tank Regiment” by G.G. Suraeva-Koroleva (lyrics by the author), “Song of the Mother” by Mitin (lyrics by Talalaevsky), “Brides who did not become wives” by Kuzina (lyrics by L. Tatyanicheva), “Ballad of Dreams” by Terkhanov (lyrics by the author). The most common. among mass and pop music: lyrical. - “Panzhi lime poras” - “When the bird cherry blossoms” by Kosheleva (lyrics by I. Devin), “Oh, little muzzle” by G.G. Suraev-Korolev (lyrics by Yu. Azrapkin), “Russian Blonde” by Pavlov (lyrics by A. Malkin), “You’re Leaving” by Terkhanov (lyrics by V. Sosnora), “Plea” by Kuzina (lyrics by T. Kuzovleva); on the theme of love for mother and maternal love - “Tutyu-balyu” by Kiryukov (lyrics by F. Atyanin), “Daughterly love” by Kosheleva (lyrics by Chernyaev), “Sembodonga mazynyai” - “The most beautiful of all” by Kosheleva (lyrics by S. Kinyakin ), “Mom's Hands” by Mitin (lyrics by Talalaevsky), “Mama” by Terkhanov (lyrics by the author); P. about children and for children - “Kafta Ezhuft” - “Two Sly Men” by Kosheleva (lyrics by V. Mishanina), “What is kindness?” Terkhanov (lyrics by Sadulina), “Listen to the music of heaven” by Kuzina (lyrics by Zadalskaya).
P. composers of Mordovia are performed by soloists of the Mordovia State Philharmonic and the State Musical Theater of the Republic of Moldova (M. Antonova, A. Klykov, V. Kudryashov, L. Kuznetsova, A. Kulikova, N. Markova, S. Plodukhin, S. Semenov, N. Spirkina ), as well as amateurs. artists. G.G. Suraev-Korolev, Kuzina, M. Fomin often present their music themselves. CDs (audio) have been recorded: “Modern choral music of composers of Mordovia”, “Panzhi laime poras” (“When the bird cherry blossoms”) by Kosheleva, “Our meetings” by Kuzina, “My Shores”, “Islands of Childhood” by Terkhanov.
Self-made. composers create music for performers. collectives, which they lead (V.A. Beloklokov, V.A. Bychkov I.I. Ignatov V.I. Strokin - Saransk; S.N. Tikhov - Krasnoslobodsk; N.V. Kiselev - Ruzaevka; G.I. Mazaev - Kochkurovsky district; I. Ovchinnikov - Kovylkinsky district, etc.). Texts: Moksha-Mordovian songs. - M., 1935; Songs of Mordovia. - Saransk, 1959; Pavlov G.V. Songs and romances. - Saransk, 1963; Songs of Mordovia. - Saransk, 1987; School years are wonderful. - Saransk, 1988; With a song through life. - Saransk, 1989; Kosheleva N.V. Hear my song. - Saransk, 1994; Odinokova T.I. Mordovian music in elementary school. - Saransk, 1994; Moksherzian morot. - M., 1929; Moron pusmo - Song bouquet. - Saransk, 2000. Lit.: Sitnikova N.M. Pages of musical history. - Saransk, 2001.

I.A. Galkina

In prof. music of Mordovia R. appeared in the 20th century. Melodic-harmonic. means of a number of samples are associated with folk. traditions (see Mordovian folk vocal music). Composers turn to the poems of poets of Mordovia, classical, modern. rus. and Western-European poetry. Texts - in Russian, moksha, erz. languages. The first R. are recorded in the works of M.I. Dushsky (“Despair” to lyrics by A.I. Polezhaev, 1938, etc.). In R. last. decades, a wide range of images and musical expressions have been captured. means: lyrics of bright love feelings - in R. L. P. Kiryukova on lyrics. F.S. Atyanina “Ilyaden Moro” - “Evening Song” (1958), G.I. Suraeva-Koroleva on lyrics. I.N. Kudashkina “Tell me, my only one” (1993), S.Ya. Terkhanov on lyrics. T. Sidorova “I like being yours”, I.G. Ehrenburg “So wait...” (1997); bright emotionality and developed piano part - in R.I.V. Sokolova on the lyrics. Suraev-Korolev “Mon Lisyan” - “I’ll come out” (1958), G.G. Vdovina on the next P.U. Gaini "Sonnet" (1963); the state of mental self-deepening is reflected in R. Terkhanov’s “I am a leaf” on the next page. N. Shumak (1994), 2 “Sonnets” on lyrics. W. Shakespeare (1998), D.W. Buyanova on the lyrics. A.A. Tarkovsky “Candle” (1991), own. sl. “Prayer”, “Your Look”, (2002). Often in lyric. In the narration, images of nature are in harmony with a person’s mood: R. Suraeva-Koroleva on the lyrics. A.S. Pushkin “To the Sea” (1940), Sokolova on lyrics. Atyanina “Tunda” - “Spring”, “Syoksen Mora” - “Autumn Song”, “Cranes” (1958), Vdovina on the lyrics. E.A. Yevtushenko “Autumn” (1973), “White Snow is Falling” (1981), Pushkin “October has already come...” (1998). In the genre of vocal ballads written by R. Terkhanov on lyrics. Y. Andrianova “Fords” and “Third Position” (1986), R. Romanova “In the field, in the open” (2002). In vocal productions. G.G. Suraeva-Koroleva (“Forgive” to lyrics by E. Naumova, 2000, “Come” to lyrics by Yu. Azrapkin, 2002), E.V. Kuzina (“Let’s talk to you” to lyrics by N. Zadalskaya, 2002) R. acquired the features of a modern one. pop song. Stylistic proximity to Russian household R. - in op. “I can’t forget” N.V. Kosheleva on the next line A.N. Terentyeva (1981). R. composers of Mordovia are included in the repertoire of soloists of the Mordovian State Philharmonic and the State Musical Theater of the Republic of Moldova.

N.M. Sitnikova

From the end 1980s Composers of Mordovia are actively turning to the symphonic genre. poems. First op. this kind of symphony. poem “Erzya” by E.V. Kuzina (1988), touching on. the topic of personality in litigation. For symphonic poems by S.Ya. Terkhanov (1991) is characterized by the opposition of muses. symbols of good and evil, originality of the orchestral composition (vocal parts, children's choir, organ). Symphonic poem by G.G. Suraev-Korolev’s “Call” (1999) is defined by the author as “a mood for a symphony orchestra”, “Light and Shadow” (2000) is a colorfully bright painting, “Symphony of Novels” (2001) is a kaleidoscope of diverse episodes. In the concert for symphonies. Kuzina's orchestra (1992) are revealed in a colorful and expressive way. capabilities of different tools; in the symphony suite from the ballet “Alena Arzamasskaya” by N.V. Kosheleva (1979) created the image of the legendary heroine of the Mords. people (see Alena Arzamasskaya-Temnikovskaya), a specific programmatic idea is characteristic of her symphony. suite “Women's Portraits” based on sculptures by S.D. Erzi (2001). Tool. sketches in “Suite based on sculptures by S.D. Erzi” for chamber orchestra (1989) was created by Terkhanov. Lit.: Popova T.V. Symphonic music. - M., 1963; Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. From song to symphony, or Let's listen to music! - Saransk, 1989.

N.M. Sitnikova

N.M. Sitnikova S.G. Suraeva-Koroleva.

Oil paintings by composers of Mordovia are performed by the State Chamber Choir, the choir of the State Musical Theater of the Republic of Moldova, the ensembles “Umarina”, “Kelu”, and the Mordovian choir. state University, choirs of the Moscow State Pedagogical Institute named after. M.E. Evseviev Saransk Music School, Children's Music School, as well as amateurs. groups and ensembles.

Prod. composers of Mordovia are included in the repertoire of famous groups in Russia, including the Bashkir Academician. chamber choir, Mar., Udm., Chuvash., Magnitogorsk, St. Petersburg academic. choir chapels, Omsk, Ryazan people. choirs, choral groups of the Kazan, Nizhny Novgorod, Ural conservatories, children. choirs of Kazan, Moscow, Nizhny Novgorod, Samara. Lit.: Folk singers and composers of Mordovia. - Saransk, 1975; Boyarkin N.I. The formation of Mordovian professional music (composer and folklore). - Saransk, 1986; Sitnikova N.M. Pages of musical history. - Saransk, 2001.

T.I. Odinokova

A new stage in the development of choreography is associated with the process of formation of national dances. prof. lawsuit (1930s). Young people who came to Mordov. theater. studio (see Mordovian theater studios) from Erza. and moksh. villages and villages of Russia, brought the movements and rhythms of their villages into the dance. From disparate elements gradually created integral dances. paintings. At the concert, dedicated. To the Extraordinary Congress of Mords. people (1937), nat. group of music artists theater (G. Vdovin, M. Devyataikina, S. Ryabova, E. Tyagusheva, A. Shargaeva) was first performed by prof. Erz. dance "Kenyarks" ("Joy"). At first it was systematic. studying and recording folklore Choreography is based on Mordov. choir chapel (1939, director P.P. Yemets; later the ensemble “Umarina”). The group performed a stage performance. variants of round dances, then plot dances on a wedding theme (composer L.P. Kiryukov) and vocal and choreographic. composition “Luganyasa kelunyas” (m., “A birch tree in the meadow”). During Vel. Fatherland During the war, the ensemble, divided into brigades, performed solo and duet pop dances (dancers V. Argentov, S. Vasilyeva, F. Goryachev, S. Makarov). In the beginning. 1950s in dance The repertoire of the ensemble (the choreographic group was replenished with dancers from the abolished Opera and Ballet Theater and various groups of Russia) included plot dances (“Come on leave to your native collective farm,” “Mordovian Dance”), dance. suites with Kiryukov’s choir (“Harvest Festival” and “Collective Farm Wedding” - dances of the bride and her friends, the groom and his friends, the matchmaker and the matchmaker, round dance of guests), etc.

In the 1960-70s. national The group's repertoire began to receive more serious attention. The works of choreographers D. Bakharev, V. Zhestkov, V. Kuznetsov, E. Tarakhovsky, varied in plot, light in mood, revealed the worldview of modern times. person. The language of choreography has become more dynamic. The dances were full of stunt elements (“Bizarre fun”, “Rural pictures”, “Let’s dance”, “Funny fun”, “We live by the Volga”, “Erzyan women on a bench”, “Tractor plows”, “Into the forest for berries” ). Most of them were combined into vocal-choreographic. suite “The Four Seasons” (1966). Songs and dances, the basics, were successful. on the traditions of the people. art: “Seeing off the Bride” (music by I. Ignatov, lyrics by M. Beban), “Moksha Flows”, “Umarina” - “Apple Tree”, “Holiday in the Surye” (V. Beloklokova, lyrics by P. Gaini ), “Levzhenskaya Dance” (music by Beloklokov, staged by Bakharev). Since 1984, with the arrival at Umarina, art director. hands S.V. Balabana nat. The themes of the dances have become more diverse. The study of the ritual and festive culture of the Mordovians and the existence of people in it. dance plasticity contributed to the creation of numbers that became plural. years the basis of the ensemble program: e. “Tundon Vastoma” - “Meeting of Spring”, “Erzyan Odirvat” - “Erzyan Brides” (music by N. Boyarkin, staged by M. Murashko), “Ovto Marto Nalksemat” - “Games with a Bear”, “Guline” - “ Dove”, “Seleka” - “Drake”, “Vir Tavlan nalkshket” - “Podlesno-Tavlinsky toys”, “Kolmo atinet dy veike teyter” - “Three old men and one girl” (music folklore, production by G. Galperin) and others. Ballet dancers performed with the ensemble: N. Vlasova, T. Gradusova, V. Kargina, V. Kiryushkin, N. Lyugzaeva, Makarov, E. Markina, V. Pchelkin, V. Strigulin, M. Sych.

Contribution to the development of muzzles. Folk contributed to the choreography. collective "Kelu" (organizer and 1st director G.I. Suraev-Korolev, choreographer V. Uchvatov). Its choreography was composed by ch. arr. dancing with. Levzha, where the muzzle is quite fully preserved. (moks.) rituals, as well as dance. music and dances performed in various languages. festivities (“Zerezenkay”, “Nastu” - “Nastena”, “Kelu” - “Birch”, “Ofta atya” - “Old Bear”, “Postufon Mora” - “Shepherd’s Song”, etc.). On their basis, a number of dances were created: “Alyan kshtima” - “Men’s Dance”, “Silence Uryadama” - “In the Haymaking”, round dance “Kelu”, “Levzhan Stirht” - “Levzhen Girls”, etc.

Development of Prof. theater. The choreography of Mordovia was facilitated by the activities of L.I. Kolotneva. His choreography in the first national. performances “Litova” (1943) and “Nesmeyan and Lamzur” (1944) Kiryukova, distinguished by mass production and precision, became an example of creativity. transfer of national dance language in prof. art (national dances “Paksya Ozks” - “Festival of the Consecration of the Field” and “Kishtema” - “Dance”). For further development of the theater. choreography was influenced by the reorganization of dramas. theater in music and drama. (1958) and the arrival of choreographic graduates here. school of the country. In the choreography of music. performances revealed a variety of directions and styles of choreographer's art. Contribution to the theater. choreography of Mordovia of the 1960s - early. 1990s contributed by choreographers: V.V. Chizhov (“Rigoletto” by G. Verdi, 1960; “Eugene Onegin” by P. Tchaikovsky, 1961; “Rusalka” by A. Dargomyzhsky, 1962), V.N. Nikitin (“The Gypsy Baron” by I. Kalman, 1965; “The Bat” by I. Strauss, 1966; “The Thunder Bride” by K. Akimov, 1967), laureates of the international. choreographer competition A.B. Ivanova and E.S. Osmolovsky (“Silva” by Kalman, 1973; “Polar Star” by V. Basner, 1974; “Miss Ellie is getting married” by F. Karaev and L. Weinstein, 1974; “Moksha Dawns” by G. Pavlov and Akimov, 1974), E. TO. Dementiev (“Cinderella” by A. Spadavecchia, 1977; “Dangerous Similarity” by G. Tsabadze, 1982; “Russian Nursery rhymes” by V. Kazenin, 1983; “Cat’s House” by A. Kuleshov, 1985; “Litova” by Kiryukova, 1985; “Free wind” by I. Dunaevsky, 1985; “Musical incident in the country “Multi-pulti””, 1986; “Bremen Town Musicians” by G. Gladkov, 1987; “Maritsa” by Kalman, 1987), G.N. Rubinskaya (“The Magician” by V. Berenkov, 1980; “Let the Guitar Play” by O. Feltsman, 1980; “The Wind from the Ponizovye” by G. Vdovin, 1981), O.P. Egorov (“Woman's Revolt” by E. Ptichkin, 1987; “Donna Lucia” by Feltsman, 1987; “Knight Bluebeard” by J. Offenbach, 1989; “Dorothea” by T. Khrennikova, 1989; “Silver Lake” by N. Kosheleva, 1990); “Ah, carousel, carousel!..” V. Komarova, 1991). The choreography of performances is based on Mordov. the subjects lay Nar. ornament. dances and dances that were common in ritual and festive events and gave the performances a kind of national character. coloring The most original among them are thematic dances: “Bogomazy” and “Meeting of the Master with the heroes of his sculptures” (“Sorcerer”), “In the underwater kingdom of Vedyavy” (“Silver Lake”), “Spring Festival” (“Bride of Thunder”), “ Glory to the earth-nurse! (“Wind from the Ponizovye”). New trends of modern times. choreography was reflected in one-act ballets and miniatures by choreographer L.N. Akinina “Guernica” by A. Morozov (1985), “Francesca da Rimini” to music. Tchaikovsky (1991), “Bolero” by M. Ravel (1991), “Carmen Suite” by J. Bizet - R. Shchedrin (1992), “A Seagull named Jonathan Lewington” by S. Terkhanov (1993), “Walpurgis Night” by . Gounod (1993), “Mary Stuart” by G.F. Handel (1993), “The Nutcracker” by Tchaikovsky (1994), etc. In the opera “Siyazhar” by M. Fomin (1995), she developed bright drawings, accurate in ethnographic. regarding plot dances. During this period in music. danced at the theater: N. Razina, Dementyev, A. Burnaev, G. Chubarov, N. Zadumkina, L. Igosheva, O. Gavrilkina, Yu. Murinskaya, Akinina, Yu. Murinsky, V. Ievlev, V. Melyokhina, T. Redina , N. Kadantsev, M. Grinina, R. Melnikov. From the end 1990s The theater began staging major ballet performances based on Russian choreography. choreographers M. Petipa, M.M. Fokina and others: “Coppelia” by L. Delibes (1998, choreographer T.M. Lebedeva “Giselle” by A. Adam (1999), “Chopiniana” (2000), “Paquita” by L. Minkus (2001) (choreographer O. V. Vasilyeva In 2004, the ballet “Swan Lake” by Tchaikovsky was staged (choreographer V.M. Miklin

In the 1980-90s. several are open in Saransk. det. ballroom and modern schools dance. Since 1980 he has been working in experimental choreography. music theater studio comedy (see Mordovian Republican Children's Choreographic School). With creation in Mordov. state un-te f-ta nat. culture (1990) Mordov. dance art has become a scientific subject. research A detailed study of the basics of folklore. plastic arts, poetry, costume, festive and ritual culture, folk. theater contributed to the creation of erzas that were original in style and content. and moksh. dances (“Tashto Naimanon utyakat” - “Ducks of the Old Naiman”, “Muranen mazykat” - “Beauties of Murani”, “Teyteren pokshchi” - “Girls’ Holiday”, “Teshtede peshkse keche” - “Star Bucket”, “Perkhlyaen kshtima” - “Perkhlyaiskie peretopy”, “Mokshen myantsevkat” - “Moksha vikhlyavitsy”, etc.; director Burnaev). A special has been developed here. training program for specialists in muzzles. choreography, published method. development and training. benefits. Lit.: Faculty of National Culture. 10 years. - Saransk, 2001; Burnaev A.G. Mordovian dance (history, methodology, practice). - Saransk, 2002; It's him. The genesis of the ballet art of Mordovia. - Saransk, 2004; Bryzhinsky V.S. Mordovian folk drama. - Saransk, 2003; It's him. Shine brightly - Silver chains: Erz. and moksh. folk games and round dances. - Saransk, 2002.

Ukhvatkina Alina

The work reveals the history of the appearance of Mordovian musical instruments, their purpose, and traces the path of their development. Using the example of some instruments, the originality of the Mordovian culture and its connection with nature are shown.

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Municipal budgetary educational institution "Kurtashkinskaya secondary school"

Atyuryevsky municipal district of the Republic of Mordovia

Republican educational and practical conference for schoolchildren

"Mordovia through the eyes of children"

Research

Folk music

Mordovian instruments: past and present.

Section "Elementary classes"

Completed by a 4th grade student

Ukhvatkina Alina

Head of Maskaykin

Tatyana Anatolyevna

2018

I.Introduction…………………………………………………………….page 2.

II. Main part…………………………………………………… pages 3-5

2.1. The emergence of musical instruments and their connection with the life and culture of the Mordovians.

2.2. Percussion musical instruments - idiophones……………

2.3. Wind musical instruments – aerophones……………

III.Conclusion………………………………………………………….page 6

Bibliography…………………..……………………….page 7

Appendix……………………………………………………………pp.8-14

I.Introduction

Last spring, our school hosted a regional seminar for teachers of Mordovian languages. Our class prepared an event dedicated to the arrival of spring. For this event, my class and I made an unusual staff, and our teacher told us that it used to serve as a musical instrument. I wondered what other musical instruments the Mordovian peoples played in ancient times. What material did they use to make them?

The relevance of research: The study is interesting and relevant for students who want to learn more about the culture of the Mordovian people.

Problem : Students at our school study the Mordovian language, but not everyone knows Mordovian folk musical instruments, their purpose, the origin of the instruments, their past and present.

Hypothesis : The emergence of Mordovian musical instruments is associated with the culture and way of life of the Mordovians.

Goal of the work : Find out the history of the appearance of musical instruments, their purpose, and trace the path of their development.

Tasks: Study historical, educational, reference literature about Mordovian folk musical instruments; systematize the information received; using the example of some instruments to show the originality of the Mordovian culture and connection with nature.

Subject of study: Mordovian folk musical instruments, their past and present.

Research methods: analysis, generalization, classification, comparison.

Research work structure: introduction, main part, conclusion, bibliography, appendices.

II. Main part.

2.1. The Mordovian people carefully preserve their musical culture, their songs and tunes, and, of course, folk instruments. After all, our ancestors believed in the magical healing power of sound.(Slide 3)

The traditional musical instruments of the Mordovian people are both the simplest adaptations of objects from the environment and household life, as well as more complex and varied in design specially made musical instruments.

Over time, Mordovian instruments for applied purposes began to become a thing of the past, but national musical instruments took on a new look.

Musical instruments were made from wood, birch bark, plant stems, grass and tree leaves, tree trunks and branches.(Slide 4)

We decided to make some musical instruments ourselves together with dad, and I found some in our school museum.

2.2 . There is a classification of Mordovian folk musical instruments.

The first group is percussion musical instruments (idiophones).(Slide 5)

These include: baydyama, kalderfnema, shavoma, shuftonkutsuft.

The Moksha people endowed paigona with magical qualities as a talisman against diseases and evil forces - these are metal bells strung on a cord and hanging on women’s belts. Believing in their magical power, the bells were hung on a staff. According to legend, the staff belonged to one of the revered gods of the Mordovians. Among the Mokshas this instrument is called baidyama. It was often used in various rituals.(Slide 6)

And this tetrahedral box made from a single birch bar is called kalderfnema. A piece of oak knot is attached to the rope, which hits the box when swinging. With the help of a mallet, signals were given to gather people for lunch.(Slide 7)

The shavom tool is a smoothly planed spruce or birch board. It can be struck with wooden hammers or wooden spoons (kutsuft) - they also served as an independent instrument. Shavom was often used in rituals or during the rite of the first day of pasture of livestock, which came after a long winter, as well as to scare away predators from livestock, since it was credited with a special magical power that was capable of scaring away evil spirits.(Slide 8)

Rubel is a wooden board with cut-out transverse grooves for rolling laundry. The household item was used for beating (washing) and ironing clothes. The rubel-valek was also used as a musical instrument. When playing, the ruble is held by the handle with one hand, and the other is moved back and forth along its scars with a wooden spoon or stick.(Slide 9)

2.3 .The second group of musical instruments is wind instruments (aerophones)(Slide 10)

The most common instrument from this group is the nyudi, which has existed since the middle of the second millennium AD. This is a hollow wooden pipe that existed in every Mordovian family. With the advent of a baby, families made a pipe, with a tongue and one hole in the barrel. With each year of the child’s life, a hole appeared on the trunk, and there were 6 of them in total, since at the age of seven the child became a housewife.(Slide 11)

In traditional Mordovian poetry, nudes are a symbol of sadness. “There was a custom of playing lamentable tunes on the nude in the cemetery.” It was also believed that the sounds of nudes could stop bleeding.

Syura is a trumpet made from a bull or cow horn. One side of the thread spool was ground down and inserted into the hole of the horn, and on the other a recess was made for the lips. The syura was used by shepherds as a signaling instrument, as well as a ritual one, supposedly capable of driving away evil spirits.(Slide 12)

The ritual musical instrument of the Mordovians was the Jew's harp. The Mokshans call it Tsingoryama. It is a horseshoe-shaped iron plate with a flexible steel tongue in the middle. The sound of this instrument was used in songs and dance tunes. The most revered animal among the Mordovians is the horse. It is easy to depict the clatter of hooves on this instrument. Mostly dance melodies were played on the instrument.

(Slide 13)

At family calendar holidays, tunes were played on a hollow whistle made of baked clay with playing holes “sevonenyavyashkoma”. Whistles were most often in the shape of a duck, since according to legend, the Supreme God of the Mordovians, Shkabavaz, floated through the water on a stone in the shape of a duck. The instrument has been known since the beginning of the 1st millennium AD. e.(Slide 14)

Torama is an ancient wind signal instrument. It was made from linden rings inserted into each other in the form of an expanding tube. A birch bark tongue was inserted inside. According to legend, the toram belonged to the first Mordovian king Tyushte. During his reign, peace and prosperity reigned on Mordovian land. For this, the Mordovians equated him with the gods and endowed him with immortality. Leaving the Mordovian land, Tyushtya left a torama to his people and he bequeathed: “You live, live in friendship, my torama - my trumpet, will, as before, bring you together.”(Slide 15)

From the middle of the 19th century, the balalaika and harmonica, borrowed from the Russians, entered the life of Mordovians everywhere.(Slide 16)

III.Conclusion

To summarize all of the above, I would like to say that Mordovian folk musical instruments first arose as helpers in the difficult life of the forest people and were made from the material that was around them. Subsequently, people began to play them during recreation or on holidays.

Mordovian musical instruments, as well as song creativity, were created and developed over many centuries in accordance with the conditions of life, everyday life and work. The emergence of instruments occurred at various stages of the evolution of the culture of the people and in accordance with the general development of human society and in the interrelation of peoples.

In the traditional musical culture of the Mordovians, instrumental music occupied an important place. As an integral part of the spiritual heritage of the people, it was an integral attribute of the life of the Mordovians, including pagan rituals and holidays (calendar and family); instrumental music was given magical, healing and educational significance.

Currently, many Mordovian national instruments are used by folk musicians at song festivals and folklore festivals.

Bibliography

1.Mordva. Essays on the history, ethnography and culture of the Mordovian peoples - Saransk, 2004.-992 p.

2.Mordva: historical and cultural essays / Ed. Col.: V. A. Balashov (ed.), V. S. Bryzhinsky, I. A. Efimov; Manager team Academician N.P. Makarkin. - Saransk: Mordov. book publishing house, 1995. - pp. 463-464.

3.Vertkov K.A. and others. Atlas of musical instruments of the peoples of the USSR. - M., 1963; Boyarkin N.I. Mordovian folk musical art. - Saransk, 1983; It's him. Folk musical instruments and instrumental music. - Saransk, 1988;

Yulia Mikhailova
Summary of the lesson “City of Musical Instruments” for the project “In the Land of Musical Instruments of Mordovia”

Lesson No. 1

Subject: «»

Target: - develop the creative process of perception in children music through play on the child's accessible musical instruments;

To form in children auditory concepts, a sense of rhythm, timbre, dynamics;

Instill interest in Mordovian musical instruments.

Progress of the lesson

Teacher:

Guys, today we are starting an unusual journey. This is a trip to a fabulous the country of musical instruments of our republic - Mordovia.

And once in this musical instruments live in the country, which means that both sounds and magic live in it music. Do you hear? Sounds Mordovian music.

Today we will visit City of Musical Instruments. Guys, do you know that instruments are different?

There are drums musical instruments, the sound comes from hitting instrument, such as a drum, wind instruments - they sound when they are blown, these are a pipe, a flute, a trumpet; strings - consist of strings that are played with bows or plucked with fingers. (picture displays). Among Mordovian musical instruments, the most common are the mallet (shavoma-M., chavoma - E., wooden xylophone (calcciamate - M, calceyamat-E, bells (paygonyat - M, bayaginet - E, jew's harp - M, E, violin (garze, arrow - M , kaiga - E, flutes (vyashkoma - M, veshkema - E); bagpipes (fam, ufam - M, puvama - E, trumpet (dorama, torama - M). Borrowed ones are sometimes mentioned tools, for example, an accordion.

And to get to know each other better Mordovian musical instruments, I'll tell you a fairy tale. And you will help me.

One musician entered the house with a large box. There were different musical instruments. He took out from it a bell, spoons, rattles, a drum, whistles, bells and many others.

Tomorrow is my son's birthday and you will all come in handy.

Night fell, and suddenly there was a crackling sound in the silence. ratchets:

Fuck-fuck-fuck. I wonder which of us the birthday boy will choose?

The drumsticks jumped up and beat out a short roll on the drum.

Tram-there-there! What is this tool - ratchets? Wooden planks attached to a cord. There's a lot of cod and no music. Of course the boy will choose the drum. He will be able to march and dance to my fight.

Ding-dong, ding-dong,” the bell began to get excited, “from you, drum, there is only beat and noise, but I can ring merrily, so I’m better suited for dancing.”

Tra-ta-ta, ding-ding-ding, - the spoons entered the conversation. – You are mistaken if you think that spoons are not musical instruments. We are made of the most musical tree - maple and we can click very loudly, and the tinkling of bells decorates our music.

Don't make noise kids, look what this is musical instruments? - a huge drum standing in the corner hummed angrily.

Ding-dong! And they are not at all like us. - the bell was surprised.

We are your relatives - we Mordovian folk instruments.

Musical instruments made noise, became quiet and fell asleep. They woke up from cheerful laughter and stomping. Children came to visit the boy. Their hands were quickly torn apart musical instruments, and the fun began. All tools started playing their tunes.

Fuck-bang-bang - the rattles were crackling.

Tram-tom-tom—the drumsticks beat.

Ding dong! - the bell rang.

Tra-ta-ta, ding-ding-ding - the spoons were talking.

Then the boy's father entered. He took Mordovian instruments, showed the children how to play them. The guys took everything tools and the general fun began.

We are all from the same family musical instruments, and we have our own names.

My name is beater!

And I am a cheerful whistler.

“I’m nude,” said the sad pipe!

We don’t need to argue,” the accordion stirred the bellows, and that’s all the instruments agreed with her!

Teacher: Guys, well, we listened to the fairy tale about musical instruments, and now I want to do a little quiz on the fairy tale. Answer my questions and receive a winner's token.

Quiz questions

1. Than drums tools different from strings and winds tools?

2. What is the sound? musical instrument Do you like the one from the fairy tale more and why?

3. If only musical instruments asked you to resolve their dispute, what would you tell them?

4. Come up with your own funny names for different musical instruments.

The teacher sums up the results of the quiz and awards the most active participants with commemorative medals with images musical instruments.

sources used.

http://muzichka1.ucoz.ru/

Valdonia (Firefly): Program and method. recommendations

Publications on the topic:

Goal: Acquaintance with Russian folk musical instruments: tambourine, pipe, rattles, balalaika, domra and other instruments.

“Journey to the Land of Musical Instruments” NOD in the preparatory group(conducted with unfamiliar children) Purpose: to introduce children to noise musical instruments Health objectives: preparation of organs.

Summary of the direct educational activity “Journey to the world of musical instruments” (multi-age group) Goal: Expand.

Summary of GCD for the middle group “Journey to the Land of Musical Instruments” Abstract of the educational activity for the middle group “Journey to the land of musical instruments” Objectives: 1. To cultivate a love of music and a caring attitude.

Synopsis of the NOD “In the Land of Musical Instruments.” For children of the preparatory group Goal: To form the foundations of the musical culture of preschoolers. Develop musical and creative abilities based on the synthesis of various types.

Summary of a lesson on speech development in the senior group “In the world of musical instruments” Goal: Expand children's understanding of the variety of musical instruments. Objectives: 1. Introduce children to musical instruments. 2.