History of Russian folk song. Why is the story about a folk song. Russian folk songs. A story for children. “Why does Russian folk song live to this day? Religious origins of folk music

A huge number of musical and poetic works are passed down from generation to generation. Their totality constitutes what is commonly called folk music, otherwise known as folk music or musical folklore.

Folk music is part of folklore and is traditionally transmitted “orally”, that is, it does not have a written form. In this case, one should take into account the fact that folk music is characteristic not only of oral, but also of written socio-historical formations. Therefore, it is advisable to consider folk music as a significant part of musical art as a whole, contrasted with academic and popular music.

Formation of folk music

It is believed that folk music took shape in the pre-literate period. In other words, until it became possible to record musical works on paper, the entire existing musical tradition was transmitted orally, and therefore had the main feature of folk music.

During this period, the main characteristic features of folk music were formed. Researching them is very difficult due to the lack of written sources. You can go by searching for analogies in related areas of human activity or analyze the few available written or material sources (in particular chronicles, found ancient musical works...). Another way is to analyze modern folk music, which largely inherited the principles of its ancient forms.

Religious origins of folk music

The issue of the relationship between folk and spiritual music is acute to this day. On the one hand, religious songs, gaining popularity among the people, gradually moved into the category of folk musical tradition. In particular, this happened with religious Christmas songs in Poland, France, England and Germany, which over time began to be considered folk (carols, carols, noels...). On the other hand, folk music often developed in opposition to religious canons.

Stages of the evolution of folk music

Music historians distinguish three stages in the development of musical folklore.

The first stage concerns the history of society, which is usually limited to the moment of the first mention of the tribe, on the one hand, and the period of the official adoption of a single state religion in the society that grew out of this tribe, on the other.

The second stage in the development of folk music is when individual nationalities finally took shape and folklore appeared in its classical form. In Europe, folklore of this period was represented by oral works of so-called peasant music.

The third era concerns modernity, or rather modern and recent history. Its main feature is diversity. In most countries, this is primarily the transition to a capitalist system and the development of urban culture. Folk music of the modern period is characterized by a change in traditions and the emergence of new forms.

However, due to the differences in socio-historical characteristics, folk music in different countries at the present stage is developing differently. In particular, in eastern countries there is no such division of folk music into peasant and urban traditions, as in Europe.

If we consider European folk music, then all three stages of development outlined above are clearly visible in it. Thus, the most ancient forms of epic and ritual folklore passed into the period of lyrical genres in the Middle Ages, and at the present stage acquired a written form and dance accompaniment.

folk - it helps to build and to live...

Song Our song rejoiced in everyday life, - Well, take it with you into battle. \Start a song, \be the first to sing, And the shelves will be drawn behind you... Mikhail Svetlov

Song Don't trust the words of the sad song, I will burn you with scorching complaints with my speech. \But my fire in my chest will go out if\I don’t meet you. Suleiman the Magnificent, Sultan of the Ottoman Empire. Translation by V. Kadenko

Song I don’t know where they sang, \Birds - sang and sang - \Birds that sang... Juan Ramon Jimenez. Translation by I. Polyakova-Sevostyanova SONG OF WINTER

song I don’t know where their bliss sounds from, But Russian prowess beats and boils in them; Alexey K. Tolstoy
song I can’t figure it out, \Howl or crack, \Where should I put the song\In the end? \Or maybe, brothers, \The song ends\And falls into the ground\With a white face? Mikhail Ancharov ANTI-PETISH SONG (From the book "This Blue April")

Song Do not separate songs from the century... They are overtaken by shallowing, Like the depths of a river branch. Ages and opinions change, New words come. Georgy Leonidze. Translation by B. Pastternak OLD TAMMOMBER

Song I don’t hear the song of the nightingales of Baidar, I don’t hear the song of the maidens of Salgir - I dream of the sound of the Lithuanian forests, It’s more pleasant for me to trample wet moss than to marvel, The pineapple is like gold and the berry is red. Adam Mickiewicz. Translation by B. Romanov Wanderer

Song Isn't that how you sing for cold beauty? Come to your senses, O poet, what are you striving for? \She does not listen, does not feel the poet; \Look, it’s blooming; you call - there is no answer. Alexander Pushkin

Song He didn’t have time to finish this song - Shouts of “Vivat!” the hall was announced; \Only the king waved his hand, frowning: \They say, I’ve heard these songs! CASIMIR THE GREAT 1874 Dedicated. in memory of A.F. Hilferding

The song was not written in ink - \In red blood in hard times, \And it is not sung by birds in the clouds, \But by the people in battle with revolvers in their hands. Hirsch Glick. Translation by Y. Kandrora PARTISAN ANTHEM

Song A quiet song by the fire, a late tear... But it was the same before me. \And it will happen after. Andrey Dementyev After us to A. Voznesensky

Song Ridiculous song\Abandoned years. \He loves her, \But she doesn’t love him. \ Naum Korzhavin 1962 From the collection "Times", Selected 1976 SAD SELF-PARODY

Song: There are a few of them. They are not glorious and not loud, \They will not pass on to centuries, my friend... \Neither contemporaries nor proud descendants\will bend their spellbound ears to them. Anatoly Alexandrov My songs 6 Aug. 1907, Nick. zhel. dor.

The song, oh my God, brought icy buckets from the eyes of the wells. \You hung in lake silks, \your hips sang like an amber violin? \You can’t throw a brilliant forest into the regions where the rooftops are evil. \I'm drowning in the boulevards, covered in melancholy sands: \after all, this is your daughter -\my song\in a fishnet stocking\at coffee shops! Vladimir Mayakovsky

Song There is no swamp of art in my songs, There is neither music nor beauty in them; In them I poured out my youthful feelings, In them I poured out my dear dreams. Alexey Gmyrev

SongNo, don't expect a passionate song, These sounds are unclear nonsense. \The languid ringing of strings; But, full of dreary torment, These sounds evoke tender dreams. Afanasy Fet

SongNo, these days will not return to the world, Cry, soldier, our great shame! \Poet, break the silent lyre, \You will not create a song from this sorrow! \Now that the Teutonic troops\are on guard at all outposts - \Only one song will break through the barriers. \My friends! Let's sing from Beranger! Gustave Nadeau. Translation by A. Argo

Composition

For a long time, people have been composing songs about their lives and important events. Over time, these events become a thing of the past, and their participants die. The songs themselves become old, but they are not forgotten - people continue to sing them.

Songs that depict important events and prominent personalities of the past are called historical songs.

Ancient historical songs tell about the heroic struggle of the people against foreign conquerors and enslavers. They are distinguished by a high spirit of patriotism. They sing about glorious campaigns and brilliant victories, difficult roads of military glory. They also revealed people's dreams and hopes, and they also reflected the character of the Russian people, their kindness, generosity, and sincerity.

There is probably no place that would not exist one way or another

captured in oral folk art. Thus, historical songs mention Mother Volga, Rostov Father, Novgorod, the Kerzhinka River, and the “glorious city of Kostroma”; These songs tell about folk heroes: about the good fellow Emelyan the Cossack (Pugachev), Stepan Razin, about Ermak and their heroic death.

The songs of the Razin cycle, unlike other historical songs, are not only epic, but also lyrical. These songs cannot be called a simple chronicle of events. Their meaning is broader. They not only contain an objective narrative of what is happening, but, first of all, they are an expression of popular sympathy for the uprising and its leader. Truthfully expressing the attitude of the people towards the Razin movement, they idealize the image of Razin and poeticize the activities of the Razinites. Pictures of their exploits, training camps, clashes with the tsarist troops, and their dramatic fate are covered in poetry. So, for example, addressing his “brothers” - brave, good fellows, Razin says:

Oh, how can we get to quiet places,

As for that Chervonyi groove,

Like the glorious Kavalersky Island.

Oh, is there a place for us, brothers, to share a duvan,

Satin and velvet are one size fits all for us,

Cloth of gold according to its merits,

Pearls for youth,

And as much gold treasury as you need.

The main idea of ​​such songs is to express the desire for freedom. They reflect the innermost thoughts and aspirations of the serf peasantry from the 17th century until the reform of 1861.

In the XVIII - first half of the XIX centuries. A large number of so-called soldiers' songs arose, original in their content. They reflected the most important military events of those years. These are songs about the Seven Years' War (1756-1761), about Suvorov's campaigns (1799) and the Patriotic War of 1812, about the hardships of long military transitions. Historical songs of this time truthfully reflect the daily life of soldiers “in a distant foreign land,” difficult training, longing for their homeland and family. Soldiers' songs of that time replenished the folk song repertoire with works of new themes, new images, thoughts, and feelings.

The Russian-Turkish war of 1877-1878 was also reflected in historical songs. This war in the songs is considered as a war for the national independence of the Slavs.

Many songs have been created about the First World War. They talked about the endurance, courage and patriotism of Russian soldiers. And the main genre of songs of that time was the genre of song-story of a participant or eyewitness to certain events. All these songs are sad in content, with a touch of tragedy.

The main thing in folk songs is to express the attitude of the people to various life phenomena. And historical songs reflect the attitude of ordinary people to the most important events of history, from ancient times to the present day.

The variety of genres of Russian folk songs reflects the multifaceted world of the Russian soul. It contains daring and lyricism, humor and heroism. The Russian song contains the history of our people.

Genres of Russian folk songs

The song and the word were probably born at the same time. Gradually, with the development of his emotional and spiritual world, man realized the beauty of the objects and phenomena around him and wanted to express it with colors, sounds, and words. The melody was born from the soul. She was mesmerizing, merging with the singing of birds and the murmur of water. The mother’s magical voice calmed the child with a monotonous affectionate song, a cheerful melody lit a fire inside, awakened the joy of unbridled fun, a lyrical song healed a troubled soul and gave peace.

The genres of Russian folk songs reflect the versatility of the soul of our people. People have always sung songs, glorified heroes in them, described historical events, talked about the beauty of their native land, about feelings, troubles and joys. Not every person could compose a song or sing it. But there were always enough talented people in Rus'. That is why so many folk songs have come to us from the depths of centuries. Sometimes the melody was born before the verse, but more often the meaning of the song, its text dictated the character, mode, tempo, and timbre of the music.

Song is the basis of folklore

A folk song is a song composed by an unknown folk author, which, transmitted orally, was modified, improved, and acquired new melodic and textual turns. In each province, the same song was sung in its own way, in a special dialect. Its character depended on what it said. So, the songs were comic, funny, sad, lyrical, serious. They touched the soul more than a long, detailed story about the event. The songs were both comfort and joy.

Thus, the poet Ivan Surikov wrote: “As someone in the world breathes and lives, so is the song he sings.”

The genres of Russian folk songs are diverse. They sing about everything that worries a person. The song depicts the life and lifestyle of Russian people, customs and traditions. The heroes of the folk song are ordinary people, glorious defenders of the Motherland. Human life was closely connected with the natural cycle of the grain grower and with family church rituals.

Ritual - calendar songs

Even in pre-Christian times, pagan calendar holidays were accompanied by songs in which farmers turned to the forces of nature, asking for good weather and a bountiful harvest. These were chants, glorifications of the gods of the sun, wind, and rain. The rituals of worshiping them were accompanied by ritual songs, dances, and offerings of gifts. The days of the winter and summer equinoxes, the beginning of spring and the harvest are the main significant events in the life of a farmer. They were accompanied by folk songs.

Pagan rituals gradually lost their magical meaning and became a thing of the past, and the traditions associated with them adapted to Christian holidays and continued to live. The calendar cycle began with the holiday of the Nativity of Christ, Christmastide, and the New Year. They coincided with the pagan calendar and were accompanied by songs according to the day and ritual. For example, the ritual of caroling consisted of glorifying generous owners, wishing them health, addition to the family, harvest and all the benefits important to a villager. During this ritual, carols, great songs, and volitional songs were sung. Russian composers used folk songs in operas and instrumental works. Thus, “Kaleda - Maleda”, recorded in the Saratov province, was used in the opera “The Snow Maiden” by Rimsky-Korsakov in the farewell scene to Maslenitsa. During the Holy Week, girls and women told fortunes about the events of the next year, accompanying the fortune-telling with divine songs. They spent the winter noisily, cheerfully, rejoicing in the imminent warmth. Maslenitsa week preceded Lent. Farewell to Maslenitsa turned into festivities with games. Welcoming spring - Larks celebrated the arrival of the first birds. Housewives baked gingerbread cookies in the shape of larks and distributed them to children and guests. The song “Oh, Lark Sandpipers” calls for spring in a recitative manner.

Summer mermaid week carries echoes of pagan rituals associated with witchcraft and divination. On Kupala night, they performed a ritual of cleansing from disease and defilement by jumping over a fire. Unbridled in daring and joy, similar to ritual pagan dances, they were accompanied by Kupala songs. It was important in the village. In folk songs, peasants thanked the forces of nature for their abundant gifts and rejoiced at the end of hard work. Songs of this period are called obzhinochnye. Merry fairs after the harvest were noisy with ditties and dances.

Calendar ritual songs are the closest to pagan ones, the most ancient. Their language is full of epithets and comparisons, symbols and metaphors. The melodies of these songs are simple and even primitive. They are similar to chants, praises and prayers. The irregular rhythm is closer to speech, not to music.

Family ritual songs

Relatives and christening songs were sung to the child and parents by heart. They wished the baby health and happiness. Family holidays were significant and joyful milestones in the life of a Russian person. They celebrated births, weddings, and even funeral feasts. Each event had a specific melodic accompaniment. In the genres of Russian folk songs, ritual songs have a special status. According to legends, they had a magical meaning.

Wedding songs were very diverse. The wedding was a complex step-by-step ritual of matchmaking, a viewing party, a bachelorette party and the wedding celebration itself.

Dressing the newlywed for the crown (unbraiding her braids) traditionally took place while the bride was crying and singing sad songs that spoke of the lost freedom of a girl and moving into someone else's family.

The wedding feast was preceded by the ransom of the bride from her parents' house. The bridesmaids sang funny songs and ditties and egged on the groom's friends. The newlyweds were escorted to the wedding to congratulatory songs of greatness (“In the upper room, in the bright room”). In them, the heroes of the occasion were compared to a white swan and a swan, to a prince and princess. The wedding feast was cheerful, noisy, with dancing and ditties. The second day was celebrated at the house of the mother-in-law and father-in-law. The mother-in-law welcomed her son-in-law and treated him to pancakes. On the third day the wedding was extinguished. The holiday was ending.

Not only joyful events happened in Russian families. After all, rituals were observed not only on holidays. After all, they are, in fact, certain magical rituals designed to protect, protect from harm, damage, etc. For example, when a young man went to work, he was taken out of the house with his back turned forward so that his face looked into the house. Then, it was believed that he would return from the war or the army alive and well. At the same time, prayers and special lamentations were read.

Crying and lamentations also accompanied the funerals of loved ones. In them, the deceased was mentioned as a worthy person, for whom the living mourn and grieve. His best qualities were listed, even if there were none. There were even special singers - mourners who were invited to accompany the funeral.

Family ritual songs are distinguished by their touching, soulful, and deep meaning. They contain the whole life and experiences of a person.

Lullabies

There are numerous genres of Russian folk songs. Lullabies occupy a special place in them. They belong to the family, but are not ritual. These songs are the most tender, affectionate and simple. The mother's voice is the first thread connecting the baby with the world. In the lullaby, the mother determines his place and tells about the world into which he came. The monotonous soothing motifs of lullabies were passed down from generation to generation, being a family treasure. The mother's first songs introduced the little one to surrounding objects and images. They opened up the big world to him, served as a kind of protection, a talisman for him. It was believed that lullabies warded off evil spirits from the baby.

Lyrical songs

The lyrical genres of Russian folk songs are included in a large group. They are associated with a person’s emotional experiences and have a bright emotional coloring. They contain themes of a woman's hard lot, soldier's life, and bondage. Lyrical songs can be divided into popular and social. The first are songs about separation from the Motherland, about unhappy love, and difficult peasant life. Nature became animated in the songs. Her images were compared with human types. or white birch personified gentle female girlish images. A mighty lonely oak is a hero, a support, a strong man. Often in songs there is a red sun as a symbol of warmth, hope, joy. A dark night, on the contrary, carries doubts, fears, and emotional experiences. The burning torch is compared to a woman dying from overwork. The wind, the oak tree, the blue sea - each image of nature carries its own hidden meaning, allegorically tells about experiences.

The second group is coachman, recruit, and bandit songs. They mention other themes and images. Coachman's songs paint dull fields, endless dusty roads and a lonely bell. These endless drawn-out songs are sung about the tragic destinies of lonely cab drivers, about dangerous roads. Robber songs are sung dashingly, widely, freely. The people did not always hate robbers and dashing people. After all, both Stenka Razin and Emelyan Pugachev were supported by bands of bandits. And they robbed mainly merchants and landowners, leaving the poor people alone. Therefore, the songs composed about them tell not so much about robberies as about heroic deeds. They tell about the history of the people, about strong, brave people. Everything that the soul yearned for poured out in a lyrical song with a wide, chanting melody. Slow, drawn-out motives of lyrical songs were overgrown with polyphonic chants. They were sung during feasts, in chorus and solo.

Round dances are on the verge of lyrical and dance songs. The smooth flow makes them similar to lyrical songs. But they are sung with movement. Perhaps this is the most significant layer of folk songs in terms of the breadth of themes and images.

Labor songs

When exploring the genres of Russian folk songs, labor songs cannot be ignored. She made difficult things easier to handle; she set the rhythm of the work. The famous “Dubinushka” is an example of a labor song. The chorus told about the hard life of working people, and the chorus helped the coordinated actions of the entire artel. Burlatsky strap songs had a measured rhythm (“Hey, let’s whoop!”). Labor songs, along with ritual songs, are the oldest among all genres of Russian folk song; they served to facilitate the labor process. To encourage workers, many songs had humorous content.

Ditty, chorus

The most democratic, popular and enduring genre of Russian folk song are Russian ditties. They combined all the wit, the talent of the people, the accuracy of the Russian word, and the laconicism of the melodic accompaniment. A short, well-aimed quatrain shot like an arrow to the very essence of the meaning, a playful rhythmic melody, repeated many times, forced one to pay attention to the verse, the content of the ditty. It was sung with dancing. More often it was performed solo, and the right to perform passed in a circle among the singers. Sometimes competitions were held to see who could stay in the circle longer, performing ditties, and who knew them more.

The Russian ditty was called differently: chorus, suffering, sbirushka, enticement, taratorka, etc. According to the type of composition, the following types are distinguished: suffering - slow choruses on love themes, dancing - cheerful endless comic songs (“Semyonovna”).

Russian ditties ridiculed social and human vices and expressed the true mood and opinion of the people on political and social issues.

They were not politicized, but, on the contrary, expressed a skeptical attitude towards many “excesses” in public life.

The genres of Russian folk song, like a mirror, reflect the existence of the people, their mentality and spiritual essence. The whole life of a common person from birth to death was reflected in a folk song. The hard lot of the peasantry, the powerless existence of women, the lifelong burden of a soldier, the backbreaking hopeless labor - everything has a place in the songs. But the strength of spirit of the Russian people is manifested in rollicking dances, daring bandit songs, and poignant ditties. The tenderness of an unhardened soul is reflected in lyrical and lullaby songs. To this day, lovers and connoisseurs of folk music carefully and lovingly collect these pearls of folk talent, because even now in the outbacks of the Russian provinces they sing unrecorded folk songs heard from their grandparents.

Russian folk songs are an important component of folklore. This is a musical and poetic reflection of the life, traditions and history of the Russian people. The authors of these songs are forgotten, but the songs themselves are passed down from generation to generation, although some of them still have literary origins.

Origins

The source of Russian folk musical and poetic creativity can be called peasant songs and epic epics of the ancient Russian era. In ancient times, the song reflected the worldview and history of the people (epics) and accompanied everyday life and the main events in the life of the family: sowing and harvesting, the change of seasons, as well as weddings, funerals, and the birth of children.

History of the development of folk song and music

The history of Russian folk song can be partially traced back to the 17th century. In the famous literary monument of that time, “Domostoroe,” there are references to humorous songs. Due to the strict morals that reigned in the old days, such creativity was condemned and even declared “demonic.” In the era of Tsar Alexei Mikhailovich, there was even an order to confiscate and break musical instruments found in the house (then they played surnas, kharyas, domras and harps).

There was a completely different attitude towards akathists, psalms and troparions - hymns associated with church life and the lives of saints. They were recognized as useful for the spiritual development of a person.

As a result, ancient folk songs were performed, as a rule, during festive feasts.

The reign of Peter the Great and his daughter Elizaveta Petrovna brought many changes to Russia, and people faced new realities. As a result, new genres of folk songs arose, for example, soldiers' songs, and the characters became not only good fellows, beautiful maidens and epic heroes, but also clerks, clerks, soldiers and officers, etc. In addition, gradually (until the 20th - 19th centuries) urban romance began to develop, and new folk songs partly copied it.
In the 19th century, a new genre appeared - ditties. These are comic quatrains, written in trochaic pentameter and performed to a characteristic melody (by the way, there are not only folk ditties, but also original ones).

Genres of Russian folk songs

Genres are varieties of songs in form and content. The main known genres of Russian folk songs:

• Epics. These are epic songs about heroic heroes.
• Ritual-calendar- Maslenitsa, obzhinkovye, carols, spring flowers. They accompanied the change of seasons and related work in the field (previously, most of the population lived in rural areas and worked on the land), folk riddles (they were also sung, and most often during Christmas fortune-telling).
• Ritual-family- wedding, honeymoon, lullaby songs, as well as lamentations and laments, which were performed at funerals.
• Lyrical. The main themes are unrequited love, the hard life of a peasant, and sometimes separation from one’s native country; This same group includes bandit and labor songs (burlatsky, soldier and coachman).
• Ditties. These are comic quatrain songs. They ridiculed both the vices of individual people (friends and acquaintances of the performer, as well as government officials), public life (poverty) and were simply composed of hooliganism and concerned the intimate sphere (they are called hooligan ditties).

Heroes of Russian folk songs

In ancient Russian and ancient Russian folk songs the main characters were:

• Epic heroes– Mikula Selyaninovich, Volga, Stavr Godinovich, Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich.
• Pagan deities– Maslenitsa and Kostroma and others, and later – Orthodox saints associated with them, for example, Agafya-Korovnitsa.
• Family members– this concerned ritual songs that were dedicated to the bride and groom, their friends and relatives (in wedding songs), the baby (little songs and lullabies), and the deceased (cries and lamentations).
• Animals– such characters are typical for lullabies (“A little gray top will come”).

During the times of the Russian Empire and then the Soviet Union, some other characters began to stand out:

• Representatives of all layers of society of that time: soldiers, officers, clerks, village elders, ordinary peasants, workers, robbers, barge haulers, etc.
• Beloved person (lyrical songs and mischievous/hooligan ditties).
• Separately, it should be said that some ditties on military themes ridiculed the enemy, raising the morale of soldiers and the population.

"RUSSIAN SONG - THE SOUL OF THE PEOPLE." Article by Irina Skorik about Russian song.

RUSSIAN SONG - THE SOUL OF THE PEOPLE

Our Mother Russia is truly rich in talents, the pavements can be paved, but one problem is that they can rarely be heard, because real art, Russian song has been replaced by foreign cheap fakes, false culture. But the song, like the Russian soul, cannot be destroyed; it glows like an unquenchable candle in its native hinterlands, like a lamp in front of an icon, protecting its true faith, its culture from unkind glances

Why, when we hear our native speech, the intonations of a Russian song, a painful and inexplicable sadness appears in our soul, and at the same time an amazing feeling of peace in our soul? What is the mysterious power and charm of folk song?

Everything is very simple. The intonations of a Russian song - the intonations of the Russian people - are the voice of the Motherland, the voice of the mother, the voice of our heart.

Popular wisdom says: “The soul of the Russian people lives in a Russian song.” Russian song is a unique, original cultural monument. The basis of a folk song is, first of all, its high spiritual orientation, which contains the natural wealth of the Russian land, characteristic features, traditions of Russian life, and most importantly, correct religion.

Russian song is the source, the carrier of culture, the basis of all musical genres. It is no coincidence that the Russian composer, founder of Russian musical classics F.I. Glinka emphasized that “Music is created by the people, and we only arrange it.”

Some Russian songs have come to us from ancient times. Having traveled a centuries-long path, the song often lost its author and acquired truly folk features, becoming the property of all Russian culture. But fortunately, some songs have retained their authorship to this day. : “The bell rattles monotonously”- I. Makarov, "Varangian"- Ya. Repinsky, "Evening call, evening Bell"- I. Kozlov, "Luchinushka"- N. Panov. But, despite this, all these songs have one common definition, close and dear to our hearts - Russian folk song.

The song culture is infinitely rich and multifaceted. Let us remember how a Russian song lovingly sings about our native side, about a dark night, about a beaten path infinitely close to us with a mournfully lonely sounding bell and the aching song of the coachman.

With what grief and sadness the people sing about the hard lot of women, about the lot of a widowed soldier, about that lot that matches our Mother Russia ( “Mother”, “Luchinka”, “Oh, you widow" and etc.)

Oh, you, bitter fate - a splinter,

The girl's beauty is crying in the field,

Like a woman’s share - destiny

I took it from my mother in Russia.

And vice versa - infectiously cheerful, witty, dancing and comic songs are another facet of the folk character.

Let us remember how the Russian people in folk songs say goodbye to the whole world before death. Here the picture of the highest morality appears before him. In the last minutes of his life, he does not curse fate, but calmly surrenders to the will of God, asking everyone for forgiveness, bowing to his parents, and his last will to his wife, so that she does not grieve and gets married to another, letting her go in peace and love, blessing her new life. Thoughts not about oneself, but about loved ones, are a striking example of the highest moral purity, the inseparability of the life of a Russian person with Christianity, an example of the fact that Russian song is a spiritual reflection of Orthodoxy in Rus'.

And most importantly, Russian song is a living testimony of historical events of different eras.

This is a kind of chronicle preserved by people's memory. Folk epic ballads and rune legends recreate pictures of hoary antiquity, the greatness and heroism of the people. Songs about great Russian victories, about our grandfathers, descendants of Russian heroes, raise the spirit of the greatest patriotism of the people, who feel the inextricable connection of their past with the present ( “Varyag”, “It happened near Poltava”, “Susanin”, “Soldiers - kids”, “Ermak" and etc.)

Russian song is a living confession of our people. It reflects not only the positive features of the Russian spirit, but also truly historical events, sometimes deeply negative. Songs such as “Because of the Island to the Rod”, “Dubinushka”, “Khaz Bulat the Daring”, “Alexandrovsky Central” - speak about the most difficult, long-suffering fate of Russia. They openly confess the most terrible, deadly sins - murder, paganism, freethinking, apostasy, regicide:

But the time will come and the people will wake up, There are big criminals

He will straighten his mighty back. They didn't like the law

And against the bar, against the king, against the priests and gentlemen, And they stood up for the truth

He will find a stronger club. To destroy the royal throne.

"Dubinushka" "Alexandrovsky Central"

But, we must pay tribute, there are few such songs. After all, the ideal of Russian song has always been the desire for holiness. Russia is a country where people lovingly call their homeland holy - “Holy Rus'!”

They are destroying holy Rus', take your horse,

I don’t have the strength to control myself: What’s not better,

The heat of abuse in the blood is burning, You run, run, mother,

The heart is asking for a fight! To Holy Rus'.

“Let us remember, brothers, Rus' and glory” “Like across the river, and beyond Daria”

The musical basis of Russian folk songs are spiritual chants and ancient znamenny chants. This once again emphasizes that the foundation of the great Russian culture lies in Christianity - the Orthodox faith of our ancestors.

Spiritual Znamenny chants are monophonic singing. Gradually, Russian song developed on their basis a deeply original type of polyphony, subvocal polyphony, where one voice is picked up by another, another by a third, and in its development each goes its own way, as if living through a melodic fabric reminiscent of magnificent Russian lace patterns.

In the original harmonic sound of the diatonic mode of the Russian song, we hear the features of the Russian character. There is no fuss or pettiness in a folk song. Everything is thorough there. In the modal basis itself lies archaism, depth, steadfastness, and restraint. A huge, powerful internal spiritual force underlies the Russian song, which, at the same time, is distinguished by its special melodiousness and melody. The amazing melody reveals all the natural beauty of Mother Russia, her expanse, breadth, purity and sincerity of the soul of the Russian person.

A special distinctive feature of Russian songs is the lack of aggressiveness. Since ancient times, Russian people, the Slavs, have been engaged in peaceful pursuits - agriculture and cattle breeding. He is not a conqueror, but a protector, this has always been the case:

“Let us remember, brothers, Rus' and glory,

And let's go destroy the enemies.

Let's defend our country

It’s better to die than to live in slavery.”

(“Let us remember, brothers, Rus' and glory”)

The Russian people are proud of their songs and sing them with great love in their folk art:

How it will tighten, how it will flood

Songs of the Russian people,

And where does everything come from?

It goes straight to the heart.”

("What kind of songs")

What power, gigantic strength, and at the same time openness. This is not bragging, but a great love for one’s Russian culture. It is no coincidence that Russia is now experiencing enormous confrontation. The anti-Orthodox forces of the West and the whole world are aimed at destroying Russian culture. The power of Russia is feared, the mystery of the Russian soul is incomprehensible. After all, behind it lies the depth, the hidden, which was nurtured and defended for centuries by our ancestors - this is the true Orthodox faith. In fact, only Mother Russia remained the custodian of the Orthodox faith throughout the world.

Russia cannot be taken in open battle; it immediately becomes an irresistible shield. Now everything is done quietly, without fighting or fighting. Putting on a friendly guise, through the media and sects, an alien ideology is being introduced into Russia. The main goal is the destruction of Orthodoxy through Russian culture. Through the media, sects, alien ideology is being introduced into Russia. By spreading your false culture, i.e. Trying to subjugate the Russian people, the West replaces true concepts.

That’s why you rarely hear a real Russian folk song in its true sound now. And what we hear is somewhat staged, cheerful, non-committal urban modern folklore, where there is very little of Russian song present. If we hear our favorite songs, it is in a completely mutilated form, processed with modern aggressive rhythms that are deeply alien to the chant of Russian melody. These are crippled songs, where the wide length of the Russian song must be adjusted to the clear rhythm of the so-called “freedom”.

I'm not even talking about the fact that they are trying to mix Russian songs with Negro rhythms and tunes, which is completely unacceptable, not to mention the purely external appearance, the “Russians” painted with gold patterns, the costumes of young performers that barely cover their nudity.

It is shameful and painful to hear the song “Evening Bells” - a symbol of Russian culture in a completely distorted form, in the form of an agony dance. It’s a shame for our pop superstars, who, through their own misunderstanding, are destroying Russian culture with their own hands.

The folk song has not only been preserved, but is also developing. Deep bow to our wonderful performer Nar.art. Russia L. Zykina and L. Strelchenko and others. Who truly cherish and keep in their hearts the true sound of Russian songs. Our Mother Russia is an inexhaustible source of folk art. It is gratifying that in our time new songs are being written that preserve everything that Rus' has preserved for centuries. These are really clean springs. How I want them to gurgle with a cheerful din and illuminate the Russian land with their bright streams. They washed away all the dirt, the Western alluvial culture that had scabbed its way into the native land, into the souls of the Russian people.

Russian song is the living creativity of the Russian people and, as long as it lives, it will live and our great Russian culture.

And everything that is happening now - outside of true culture - is a conscious action to discredit the great true art that gives the true light of the soul. Trying to block the sun, they themselves find themselves in the shadows. This is a mouse fuss, a weak attempt to bite one’s own tail, since Russian song, like the Orthodox faith, cannot be desecrated!

Irina Skorik, St. Petersburg, 2001

A huge number of musical and poetic works are passed down from generation to generation. Their totality constitutes what is commonly called folk music, otherwise known as folk music or musical folklore.

Folk music is part of folklore and is traditionally transmitted “orally”, that is, it does not have a written form. In this case, one should take into account the fact that folk music is characteristic not only of oral, but also of written socio-historical formations. Therefore, it is advisable to consider folk music as a significant part of musical art as a whole, contrasted with academic and popular music.

Formation of folk music

It is believed that folk music took shape in the pre-literate period. In other words, until it became possible to record musical works on paper, the entire existing musical tradition was transmitted orally, and therefore had the main feature of folk music.

During this period, the main characteristic features of folk music were formed. Researching them is very difficult due to the lack of written sources. You can go by searching for analogies in related areas of human activity or analyze the few available written or material sources (in particular chronicles, found ancient musical works...). Another way is to analyze modern folk music, which largely inherited the principles of its ancient forms.

Religious origins of folk music

The issue of the relationship between folk and spiritual music is acute to this day. On the one hand, religious songs, gaining popularity among the people, gradually moved into the category of folk musical tradition. In particular, this happened with religious Christmas songs in Poland, France, England and Germany, which over time began to be considered folk (carols, carols, noels...). On the other hand, folk music often developed in opposition to religious canons.

Stages of the evolution of folk music

Music historians distinguish three stages in the development of musical folklore.

The first stage concerns the history of society, which is usually limited to the moment of the first mention of the tribe, on the one hand, and the period of the official adoption of a single state religion in the society that grew out of this tribe, on the other.

The second stage in the development of folk music is when individual nationalities finally took shape and folklore appeared in its classical form. In Europe, folklore of this period was represented by oral works of so-called peasant music.

The third era concerns modernity, or rather modern and recent history. Its main feature is diversity. In most countries, this is primarily the transition to a capitalist system and the development of urban culture. Folk music of the modern period is characterized by a change in traditions and the emergence of new forms.

However, due to the differences in socio-historical characteristics, folk music in different countries at the present stage is developing differently. In particular, in eastern countries there is no such division of folk music into peasant and urban traditions, as in Europe.

If we consider European folk music, then all three stages of development outlined above are clearly visible in it. Thus, the most ancient forms of epic and ritual folklore passed into the period of lyrical genres in the Middle Ages, and at the present stage acquired a written form and dance accompaniment.

folk - it helps to build and to live...

Song Our song rejoiced in everyday life, - Well, take it with you into battle. \Start a song, \be the first to sing, And the shelves will be drawn behind you... Mikhail Svetlov

Song Don't trust the words of the sad song, I will burn you with scorching complaints with my speech. \But my fire in my chest will go out if\I don’t meet you. Suleiman the Magnificent, Sultan of the Ottoman Empire. Translation by V. Kadenko

Song I don’t know where they sang, \Birds - sang and sang - \Birds that sang... Juan Ramon Jimenez. Translation by I. Polyakova-Sevostyanova SONG OF WINTER

Song I don’t know where their bliss sounds from, But Russian prowess beats and boils in them; Alexey K. Tolstoy
song I can’t figure it out, \Howl or crack, \Where should I put the song\In the end? \Or maybe, brothers, \The song ends\And falls into the ground\With a white face? Mikhail Ancharov ANTI-PETISH SONG (From the book "This Blue April")

Song Do not separate songs from the century... They are overtaken by shallowing, Like the depths of a river branch. Ages and opinions change, New words come. Georgy Leonidze. Translation by B. Pastternak OLD TAMMOMBER

Song I don’t hear the song of the nightingales of Baidar, I don’t hear the song of the maidens of Salgir - I dream of the sound of the Lithuanian forests, It’s more pleasant for me to trample wet moss than to marvel, The pineapple is like gold and the berry is red. Adam Mickiewicz. Translation by B. Romanov Wanderer

Song Isn't that how you sing for cold beauty? Come to your senses, O poet, what are you striving for? \She does not listen, does not feel the poet; \Look, it’s blooming; you call - there is no answer. Alexander Pushkin

Song He didn’t have time to finish this song - Shouts of “Vivat!” the hall was announced; \Only the king waved his hand, frowning: \They say, I’ve heard these songs! CASIMIR THE GREAT 1874 Dedicated. in memory of A.F. Hilferding

The song was not written in ink - \In red blood in hard times, \And it is not sung by birds in the clouds, \But by the people in battle with revolvers in their hands. Hirsch Glick. Translation by Y. Kandrora PARTISAN ANTHEM

Song A quiet song by the fire, a late tear... But it was the same before me. \And it will happen after. Andrey Dementyev After us to A. Voznesensky

Song Ridiculous song\Abandoned years. \He loves her, \But she doesn’t love him. \ Naum Korzhavin 1962 From the collection "Times", Selected 1976 SAD SELF-PARODY

Song: There are a few of them. They are not glorious and not loud, \They will not pass on to centuries, my friend... \Neither contemporaries nor proud descendants\will bend their spellbound ears to them. Anatoly Alexandrov My songs 6 Aug. 1907, Nick. zhel. dor.

The song, oh my God, brought icy buckets from the eyes of the wells. \You hung in lake silks, \your hips sang like an amber violin? \You can’t throw a brilliant forest into the regions where the rooftops are evil. \I'm drowning in the boulevards, covered in melancholy sands: \after all, this is your daughter -\my song\in a fishnet stocking\at coffee shops! Vladimir Mayakovsky

Song There is no swamp of art in my songs, There is neither music nor beauty in them; In them I poured out my youthful feelings, In them I poured out my dear dreams. Alexey Gmyrev

SongNo, don't expect a passionate song, These sounds are unclear nonsense. \The languid ringing of strings; But, full of dreary torment, These sounds evoke tender dreams. Afanasy Fet

SongNo, these days will not return to the world, Cry, soldier, our great shame! \Poet, break the silent lyre, \You will not create a song from this sorrow! \Now that the Teutonic troops\are on guard at all outposts - \Only one song will break through the barriers. \My friends! Let's sing from Beranger! Gustave Nadeau. Translation by A. Argo

Regional scientific and practical conference of students

Section “The world of my hobbies”

Topic: “Folk song is a mirror of folk life”

I've done the work

Ivanova Elizaveta,

4th grade student "B"

MBOU "Secondary School No. 56"

Scientific adviser:

Lychenkova Irina Vitalievna,

music teacher

MBOU "Secondary School No. 56"

Novokuznetsk 2015

Introduction…………………………………………………………………………………3-4

Main part…………………………………………………………………………………..5-11

Conclusion………………………………………………………………………………...11-13

List of references………………………………………………………..13

Introduction

Today we are beginning to look at many things differently, we are rediscovering many things for ourselves. This also applies to the past of our people. How Russian people lived, how they worked, how they rested. What customs and traditions did they observe? To answer this question means to restore the connection of time, to return lost values. Folk musical works unobtrusively, often in a fun, playful way introduce us to the customs and way of life of the Russian people, work, respect for nature, and love of life. N.V. Gogol figuratively called folk music “sounding history”, “resonant living chronicles”. Songs are the most popular and widespread genre of folklore. They are sung by all the people, from young to old. Truly, song is the soul of the people. The eternal folk aspirations for goodness and beauty found in it a deeply emotional and highly artistic expression. Songs spiritually unite people, educate entire generations in the spirit of the people's moral and aesthetic ideal. Thanks to its sincerity and sincerity, folk songwriting has a profound impact on the emotional world of children.

Among the 4th grade students of MBOU "Secondary School No. 56" I conducted a survey on the topic: "Russian folk song." (Slide 2) The following questions were asked: Do we need a folk song? What recordings of Russian folk songs do you have at home? Which Russian folk songs do you like best and why? What is sung about in Russian folk songs? What folk groups of our city do you know?

Analysis of diagnostic results.

130 students were surveyed . Based on the results of the questionnaires, it turned out that 87% of students answered the question “Is a folk song necessary?” that it is. The song is needed to find out how Russian people lived, how they worked, how they rested, what customs and traditions they observed. There was also this answer: to give joy to lovers of Russian folk songs. 13% answered that the song was not needed.

When asked, “What recordings of Russian folk songs do you have at home,” 93% noted recordings of Nadezhda Babkina’s concerts, 23% - Nadezhda Kadysheva, 12% - Lyudmila Zykina and 7% answered that they do not have recordings of Russian folk songs.

To the question, “Which of the Russian folk songs do you like best and why?” the students highlighted the songs that were covered in the lesson: “Soldiers, Bravo Children,” “The Moon Is Shining,” “Ditties,” “Oh, Frost,” “Kalinka.”

“What is sung about in Russian folk songs?” 93% answered that it was about love and the difficult lot of women in Rus'. 7% - about what the person lived and sang about.

When asked “which folk groups of our city do you know,” 97% noted the ensemble “Romashka” and 3% answered - I don’t know.

While researching the works, I came to the conclusion that at present many children know little folk songs and are little familiar with Russian folklore; many are not interested in Russian folk art. (Slide 3)

Goal of the work: to attract the attention of my peers to Russian folk songs.

Tasks:

1. Find out how well we know the culture of our people.

2. Analysis of the Russian folk song “Mother, Mother, it’s dusty in the field...”

3. Study, analyze and systematize material on the chosen topic.

Object of my research: Russian folk song.

Subject of study: a drawn-out lyrical Russian folk song.

As a hypothesis I assume the following: Russian folk song will live as long as the Russian people live.

Main part

The song was always there in both joy and sorrow. From birth to death. Russian folk song- , words and which arose historically during the development. A folk song has no specific author or the author is unknown. Russian folk song is original, colorful, its melody deeply reveals the plot, creates a single, complete artistic image. In music lessons, we highlighted the features of Russian folk songs: (Slide 4)

1.Ancient words;

2. Intrasyllabic chants;

3.Solo and pick-up;

4.Ak cappella;

5.Melodiousness, drawl;

6.The name is equal to the beginning.

A folk song, like a sounding chronicle, reveals the history of our people. Whatever a person did: reaping, mowing hay, rafting timber, or pulling a huge barge behind him, song helped him everywhere. They also sang while doing needlework, singing about the hard lot of women. The song appeared a long time ago. Back then, there was no actual division between storytelling and singing. Buffoons roamed the world - jacks of all trades: they could sing and dance and tell a fairy tale. Russian folk songs are divided into genres and types. I found the most detailed classification on the Internet site Wikipedia. (Slide 5)

Epic folk songs:

2.Historical songs

3.Ballads

Ritual folk songs:

1.Songs of the calendar circle

2. Ritual and everyday (wedding, funeral, laments - lamentations, lullabies, etc.)

Round dance, game, dance songs:

1.Lyrical round dances (circular round dances of the procession)

2. Comedy - humorous

3.Round dances

4. Daring fellows

5. Conversation, guest, etc.

Labor folk songs:

1.Rural (sowing, harvesting)

2.Factory

3. Burlatsky (artel, etc.)

Songs of revolutionary struggle:

1 Revolutionary songs of struggle and protest

3.Patriotic songs, etc.

Urban folk songs. Ditties:

1.Russian song

2.City song

3. Choruses, dances

4.Suffering, etc.

Lingering lyrical songs:

1. Women's lyrical (family, everyday, love)

2.Men's lyrical (love, coachman, recruit, soldier)

3.General lyrical, etc.

Those songs in which there is a conversation about the fate of each person: about what is dear to him, what he loves, what he grieves about, what he dreams about, are called lyrical. It is to lyrical songs that I want to dedicate my work. They are characterized by smooth melodies with wide breathing, singing several sounds per syllable. Therefore, these songs are also called drawn-out. The feelings of people or events described in a song are often first experienced in nature:

It was not the rain that made the white face fall silent -

The white face was wet with tears.

It was not the frost that zealously shivered -

Loved my heart sadness and sadness.

Songs-reflections, songs-dreams, songs-stories about experiences. The melodies of these songs are soulful, with frequent sighs of “ah”, “oh”, the tempo is unhurried, unhurried.

People have many songs about their home, about separation from it. After all, in peasant families, every child was an extra mouth, and they tried to give him “to the people,” i.e. to workers. Girls were married off, forever into someone else's family, and boys were recruited (for a service that lasted 25 years). The man yearned for his relatives, father and mother, and poured out this longing in songs. A wounded soldier dies in an open field, in the last hour of his thoughts about his home. A person is happy when he feels free, free, when dear, close relatives are next to him. And at the last hour, a person’s thoughts are turned to his home.

A person cannot live without love. And people wrote the largest number of songs about this. They are about happy love, when a good fellow and a red maiden, like a dove and a darling, are side by side and can’t stop looking at each other. And people all admire them and envy their joy. But there are few such songs.

More often than not, the good fellow and the beautiful maiden are separated because the “clear falcon” has a long journey ahead of him, or because the good fellow loved and loved the maiden, but “dismissed”:

Vanechka, you are my dear friend,

Where are you going, little falcon?

Who are you putting me on?

I'm left alone in grief,

In tears, like in the sea.

Separation is especially difficult when the girl is married off to someone else. And the good fellow sings: “Farewell, joy, my life!”

In Rus', weddings have been played for a long time. Each locality had its own set of wedding ritual actions, lamentations, songs, and sentences. Depending on the specific circumstances, the wedding could be “rich” - “two tables” (in both the bride’s house and the groom’s house), “poor” - “one table” (only in the groom’s house), “widow’s”, “orphan’s” " In a word, there could not be two identical weddings, and everyone who got married had their own, one-of-a-kind, wedding in their memory. But with all the endless variety, weddings were played according to the same laws. Matchmaking, collusion, farewell of the bride to her parents' house, wedding in the bride's house, wedding in the groom's house - these are the successive stages along which the wedding action developed.

During the course of the wedding, many wedding rituals were “retold”, “commented on”, “sung” in songs, lamentations, and sentences. The poetic reality of the wedding is different from what actually happened, so to speak, from the real reality. In this magical world, the bride is always a white swan, a primeval princess; the groom is a clear falcon, a young prince; mother-in-law is a fierce snake; the other side (the groom’s house) is “watered with tears”... Everything is like in a fairy tale.

In Rus', young people got married at the age of 13-15 years. Anyone who stayed as a bride or groom for up to 20 years caused fear among neighbors and acquaintances. Parents tried to find a suitable match for their child when he was just starting to walk and talk. The opinion of the children themselves was almost never taken into account, since the older generation was more experienced and knowledgeable. This is where the sayings come from: “If you endure it, you will fall in love,” “Don’t drink water from the face,” and many others.

This state of affairs could not help but be reflected in Russian song.

LISTENING: Russian folk song “Mother, Mother, It’s Dusty in the Field” performed by Lyudmila Zykina.(Slide 6)

The song “Mother, mother, it’s dusty in the field...” is built in the form of a dialogue between a girl and her mother. Looking at the sheet music, you can see the Daughter's Theme and the Mother's Theme.

The daughter's excited address is built on repeated descending and rising intonations that are never completed. Confusion, anxiety, worry, dramatic intensity of feelings. The mother's soothing responses are built on a leisurely, gradually descending melody, which leads to the foundation (sustained sound in the tonic). Submission, resignation to a hopeless situation.

The song sounds intense, in a minor key. Why is the heroine of the song so alarmed?

The works of artists will help you understand the meaning of the song and everything that happens in it.

Look at the paintings “Preparing the Bride for the Crown” by V. Feklistov, (Slide 7) by V.V. Pukirev, “Unequal Marriage” (Slide 8), (Slide 9) “Matchmaking of a Major” by Pavel Fedotov.

What emotions do the heroines of these paintings experience? Confusion, anxiety or resignation to your lot? Are these experiences similar to the mood of the heroine of the song “Mother...”?

Wedding songs attract us with their clarity of form, harmonious combination of words and music, and crystallized intonations. Family relationships and the plight of women in a patriarchal family are most vividly captured in these songs.

...You beat me up, dear father, one evening.

You wanted me, dear mother, to put me in the tower.

My dear mother put me in sadness and sadness.

Today, hardly anyone follows all the rules for holding a wedding. Probably, the only thing left from the traditional ritual is the bride price. And no one sings ritual songs at weddings anymore.

There are some points that unite all folk songs - these are symbols.

Bitter wormwood in Russian folk poetry is a symbol of melancholy and sadness. The life of the people of enslaved Rus' was dreary and sad.

... Well, the wife, the worker,

From Rus', Russian Polonyanochka...

Polonyanochka, Russian from Rus',

She watches over swans with her eyes,

And he spins the tow with his hands,

And the cradle sways with its legs...

Such images as the month - a symbol of the father, the sun - the mother and the stars - the children, as well as the month-well done (husband) and the dawn girl (wife).

Quite widely in folk lyrical songs, various birds act as symbols. So, the symbol of a young man in them is most often a nightingale, a falcon, a drake and a dove. The symbol of the girl in them is a white swan, a gray duck, a peahen and a gray dove. The symbol of a sad girl or a woman’s bitter fate, as a rule, in songs is the gray cuckoo.

Even more widely than from the world of birds and animals, in traditional lyrical songs objects of the plant world act as symbols. For example, very often the symbol of a girl in them is white birch, viburnum, raspberries and sweet cherries. A bird pecks a cherry - a good guy wooes a girl, etc.

The symbol of a woman in folk lyrical songs, as a rule, is a pear, pine, rowan and aspen.

The symbol of a young man in folk songs is most often oak, and sometimes hops or grapes.

Wedding songs were both funny (for the guests) and sad (they mourned the bride).

Conclusion

In a friendly circle, alone and in a noisy company, in moments of joy and sadness - the song is with us everywhere. Ancient and modern, soulful and sing-song, perky and mischievous - they are all in our hearts. The poetic content of the songs reflects various aspects of life, family and social relationships, thoughts and feelings of the Russian people. The Russian people treated the song with special respect, and not only because it accompanied him from birth to death, but also, probably, because singing the song required a special, elevated state of mind. The folk song both healed and consoled, educated and taught, warned and amused, amused and ridiculed. “Veselukha”, “It’s Saturday today”, “Malanya scattered beans...”.

You shouldn’t be surprised why our people are so sensitive to singing and song. Song, in all its manifestations, was a natural need for self-expression. Only a spiritually rich and talented people could create, appreciate and constantly recreate such masterpieces. It is not for nothing that they say that song is the soul of the people.

Studying Russian folk song, you realize with admiration how rich, generous, talented, sincere, and pure it is. The song reflected and kept in the memory of generations the history of our Motherland!

The songs reveal the fate of the people, the unique national character in all its richness of thoughts and feelings.

Like a kind and wise mentor, the song instills in us a love for the legends and customs of our native land, for its heroes and masters. The song teaches to live according to the laws of justice, to help others in difficult times, not to be afraid of suffering, defending the truth and one’s human dignity.

Like a free bird, the song does not recognize state borders and flies freely from one country to another. The folk song has an enviable fate. Fashionable “hits” and “hits” that were fashionable for one season disappear without a trace from memory. And folk song breaks out of the captivity of oblivion and again sounds pure and fresh in the mouths of people of a different era.

During the festivities, you can hear a cheerful ditty or folk song. And the guys pass on riddles, counting rhymes, and teases from generation to generation, without thinking that they are the keepers of folk musical wisdom.

It is in this immortality that lies the great secret of the national character of folk song. In today's social situation in our country, when state policy is aimed at reviving spiritual values, the promotion of folk art takes on greater importance. Isn’t folk art, honed over centuries and preserved through hundreds of generations, one of the highest spiritual values ​​of the Russian people?

The work material can be used in music lessons, world artistic culture, and for classroom discussions.

Literature

Alekseeva O.I. Russian folk song as an ethnocultural concept: Belgorod, 2006

Knyzeva D.V. The origins and formation of Russian comic opera in the last third of the 18th century in close connection with the study of folk song. 2011

Shchurov V. M. Song, tradition, memory. - M.: State Musical Publishing House, 1987.