Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-1-59-70
M. M. Badyrgy
This article discusses the notion of khorekteer in Tuvan throat-singing, khoomei, as a vocal method of performance in khoomei, executed with a constricted diaphragm or chest. The author regards khorekteer as an integral element of khoomei with semantic content. Khorekteer can precede musical composition in the form of melodic, introductory poetic strophes and be interlaced with “double-voiced episode”, or, conversely, can follow the double-voiced episode. Khorekteer as a performance method in khoomei was supposedly introduced by the outstanding Tuvan throat- singer Khunashtaar-ool Oorzhak, later described by Russian musicologist I. A. Bogdanov at the turn of the 1980s. Earlier, this method could have been called khoomei. The importance of khorekteer is evidenced by the examples of one’s chest (khorek in Tuvan) praising in khoomei texts provided in this article. The author also stresses that khorekteer is a key element distinguishing Tuvan throat-singing from solo double-voiced singing of other peoples. Researchers have described khorekteer as a musical piece, introduction with a psalmodic recitation of song words, melodic introductory recitative, one-voiced type of throat-singing in the low register with recitative melody, ditty with text, or just the initial part of musical composition. The article provides introductory poetic texts of Tuvan virtuosos of khoomei, differing by genre and melody diversity. The author agrees with Zoya Kyrgys, who was the one to put forward the theory of an exclusive role of khorekteer in Tuvan khoomei and suggested the term khorekteer instead of khoomei for the whole phenomenon of Tuvan throat-singing.
本文讨论了图瓦语中喉唱的概念，khoomei，作为khoomei的一种声乐表演方法，用收缩的隔膜或胸部来执行。作者认为词是词的一个组成部分，具有语义内容。Khorekteer可以在音乐创作之前以旋律的形式，介绍性的诗歌诗，并与“双浊音片段”交织，或者相反，可以在双浊音片段之后。Khorekteer作为khomei的一种表演方法据说是由杰出的图瓦喉歌手Khunashtaar-ool Oorzhak引入的，后来在20世纪80年代初被俄罗斯音乐学家I. a . Bogdanov描述。早些时候，这种方法可以被称为“呼美”。khorekteer的重要性可以从本文提供的khomei文本中对胸部(图瓦语中的khorek)的赞美的例子中得到证明。作者还强调，khorekteer是区分图瓦人的喉音演唱与其他民族的独奏双音演唱的关键因素。研究人员将khorekteer描述为一种音乐作品，以诗歌朗诵的歌曲词作为开场白，旋律性的介绍性朗诵，单声型的喉部演唱，伴随着朗诵旋律，小调和文本，或者只是音乐作品的开头部分。本文从流派和旋律的多样性出发，介绍了图瓦族霍梅伊艺术大师的诗歌文本。作者同意Zoya Kyrgys的观点，她提出了khorekteer在图瓦khoomei中具有排他作用的理论，并建议用khorekteer来代替khoomei来描述图瓦人的整个喉唱现象。
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2022-2-23-32
L. N. Arbachakova
The paper deals with two texts of the epic “Meret-oolaq” and “Meret Olak with a magic horse” (Meret sar attyg Meret Oolaq) performed by D. K. Turushpanov and transcribed by different speakers of the Shor language, I. Ya. Arbachakov and L. N. Arbachakova. Both texts were textually analyzed to reveal the epic formulas. A preliminary comparison of the two deciphered texts showed that both texts had been made from the one recording. Referring to the audio-recording of the epic under study as the only source to be legitimately called the primary source, we followed the main principle of practical textual study, the research material authenticity. We have deciphered the epic “Meret Olak with a magic horse” and reproduced most accurately the epic formulas woven into the heroic epic. In addition, we conducted a comparative textual analysis of the previously available deciphering made in the early 1980s. We have found some distortions in I. Ya. Arbachakov’s version. These are errors, abbreviations, replacements of individual formulas with synonymous ones. In addition, some well-known epic formulas were lost or partially distorted and some lines were omitted. All these factors resulted in the impoverishment of the language of the epic. Pursuing the task of authentic demonstration of epic texts and their deep textual elaboration, we have succeeded in reproducing lost or distorted formulas and stable expressions and thus contribute to the preservation of the rich language of epic singers.
本文研究了由D. K. Turushpanov表演的史诗《Meret- Oolaq》和《Meret Olak with a magic horse》(Meret sar attyg Meret Oolaq)的两个文本，并由肖尔语的不同讲者I. Ya转录。Arbachakov和L. N. Arbachakova。对两篇文本进行文本分析，揭示史诗公式。对两份解密文本的初步比较表明，这两份文本都来自同一份录音。我们将所研究的史诗录音作为唯一的来源，并将其合法地称为第一来源，遵循了实用考据学的主要原则，即研究材料的真实性。我们破译了史诗《骑着魔马的梅雷特·奥拉克》，并最准确地再现了编织在英雄史诗中的史诗公式。此外，我们还对20世纪80年代早期已有的译法进行了比较文本分析。我们发现了一些扭曲。Arbachakov的版本。这些是错误，缩写，用同义词替换单个公式。此外，一些著名的史诗公式被丢失或部分扭曲，一些台词被省略。所有这些因素导致了史诗语言的贫乏。追求史诗文本的真实展示及其深入的文本阐述的任务，我们成功地再现了丢失或扭曲的公式和稳定的表达，从而有助于保存史诗歌手丰富的语言。
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2019-1-103-110
V. A. Gorbunova
The paper discusses the current linguistic situation of the Ulchs, a minor ethnic group occupying a small area in the Far East region of the Russian Federation. After several decades of gradual decline, the indigenous Ulch language has reached the point of near extinction. The presented statistical data shows that the number of native speakers has decreased dramatically since the beginning of the 21st century (from 732 down to 154 countrywide). The author suggests several factors that contributed heavily to the erosion of the language. The primary one is the lack of a written form up until late 20th century, which both stunted its development as a communication tool and hindered the process of passing down cultural knowledge and linguistic skills. Failing to cover a required range of registers, the Ulch language was eventually relegated to the language of informal social interactions, typically among family members, with Russian performing the rest of linguistic functions. As the government and community groups are growing aware of the Ulch linguistic situation and engaging in efforts to make the indigenous language more prominent, reversing the shift is still possible. Including Ulch into the curriculums of junior and middle schools has allowed the younger generation to achieve a certain degree of oral competence. Social activities are being organized for adult speakers to encourage the use of language in a wider range of contexts. However, the process of language documentation, essential for revitalization, is revealed to still be in the beginning stages. The author presents an overview of all linguistic studies dedicated to the Ulch language and concludes that only a general framework of the system has been traced. Until mid-twentieth century the researchers mostly focused on collecting and processing the language material, offering only standalone observations related to the linguistic features. T.I. Petrova and later O.P. Sunik provided more detailed accounts of the Ulch phonetics, grammar and lexis, but both works only present a broad strokes description of the language that can’t be considered comprehensive. Creating a full record of the Ulch grammar, vocabulary and syntax appears to be the primary task that needs to be undertaken in order to make the recovery a more likely outcome.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2020-2-98-105
F. Khisamitdinova
The issues of Russian lexical borrowings (rusisms) in the Bashkir language dialects and subdialects have not been addressed yet. Dictionaries and monographs on the Bashkir language dialects and subdialects describe specific dialectal loanwords without providing a dialectal analysis of loanwords and the specific features of their adaptation and functioning in the Bashkir language dialects and subdialects. Meanwhile, studying rusisms in dialects and subdialects can elucidate both the dialectal lexicology and the formation history of the lexical, phonetic, and grammatical features of a particular Turkic language. Investigating rusisms in dialects and subdialects of Turkic languages, including Bashkir, is also relevant for the Russian language dialectology: the chronology of individual borrowings. It is worth studying the Bashkir language southern dialect widespread in the southern regions of modern Bashkortostan, Bashkir-speaking regions of Orenburg, Samara, and Saratov regions of Russia. Historically located in the very center of the Orenburg province, this territory bordered the provincial city of Orenburg and by the late 18th and early 19th centuries became one of the administrative, political, economic, and trade centers. It was then that Russian loanwords and lexemes of European languages began to actively penetrate the Bashkir dialects. These borrowings constitute a considerable group, thematically related to household, administrative and managerial, military- marching, and agricultural spheres. All rusisms underwent adaptation to the norms of the Bashkir language Southern dialect, e.g., Russian lexemes with hard-row vowels in the southern dialect have front-row vowels. South Russian dialects are considered the dominant source of the Bashkir language southern dialect lexical borrowings.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-2-83-93
V. V. Mindibekova
The paper is devoted to the folklore heritage housed in the Manuscript Fund of the Khakass Research Institute of Language, Literature and History (KhRILLH). Systematic scientific research in the field of Khakass folklore began at the beginning of the 20th century. The regular formation of the Manuscript Fund of KhRILLH began in 1945. Now, it contains the richest materials on folklore collected during folklore and ethnographic expeditions: the “living” exist- ence of heroic epics, fairy tales, myths, legends, song genres of yr and takhpah, as well as ritual folklore. However, no sufficiently complete description of the manuscripts stored in the collection has been provided so far. The author considers the issues of differentiation and systematization of non-fairytale prose, plot, and thematic composition and characterizes the scholars’ collecting and research activities on Khakass non-fairytale prose from the middle of the 20 th – beginning of the 21st centuries. The study dealt with the archival records of the Handwritten Fund of KhRILLH, including the texts in Sagai, Kachin, Kyzyl, and Shor dialects of the Khakass language. The analysis involved archival texts deciphered from the materials of folklore expeditions. The work fills a number of gaps in the study of non- fairytale prose of the Khakasses and contributes to the further development of research in this direction. The paper is written as a result of the work on the volume of the series “Monuments of folklore of the peoples of Siberia and the Far East”.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-2-102-110
M. T. Satanar
In modern conditions of an information civilization, myth and epic are attracting much attention due to the desire to understand and comprehend the constant values of mythological knowledge of the cultural origins. This work focuses on actualizing the role of the epic world model of the Yakut epic Olonkho in the culture of the Sakha people. The purpose was to verify the epic model of the Yakut Olonkho world and to describe how this model is manifested as a cultural universal in various sign systems of the material and spiritual cultures of the Sakha people. The study involved an interdisciplinary approach, modeling methods, structural and semiotic analysis, extrapolation, deduction. It was found that the representation of the geometric scheme of the epic model of the world in the form of a pyramidal structure in a static position and a cone-shaped model in dynamics has a fundamental role in modeling various iconic systems of the Yakut national culture as a universal archetype scheme. The subconscious tendency to symbolize the world model appears in the schemes of “mythological scenarios,” in geometric and semantic embodiments of the Sakha material culture artifacts, in postulated numerical principles, and in the ways of narrating the oral folk texts. Verifying the scheme-archetype as a central symbol of the Yakut culture is of great value, containing as it does the germs of new cultural ideas developing in the modern globalizing society in the continuous movement of time, making it possible to outline the possibilities of national tradition text-forming mechanisms.
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Pub Date : 1900-01-01DOI: 10.25205/10.25205/2312-6337-2021-1-32-46
N. A. Mamcheva
Ainu people are the indigenous inhabitants of Sakhalin, the Kuril Islands, and Hokkaido. This work aimed to study Russian and Japanese museum funds, analyze musical transcripts performed by the author, and review Russian and Japanese academic literature. The article deals with the percussion musical and sound instruments of the Ainu – idiophones and membranophones. The term “sound instrument” refers to archaic sound instruments that were not usually perceived as musical. They were considered as such only at the moment of their sounding. The author pays special attention to poorly studied instruments, such as a sonic log, sticks, a board, a lacquered barrel lid, rattles, bells, a shaman tambourine, and a beater. The article analyzes the etymology of the names of instruments, structure, material of manufacture, techniques of playing. Most of the Ainu tools were made of wood and had a simple design. Percussion instruments are multifunctional. On the one hand, they performed a musical function – they rhythmically organized a song or recitation. They sounded during the performance of epic legends, various songs. On the other hand, instruments were sacred objects. The author traces their close connection with the worldview, mythological ideas of the ancient people. All of them were associated with the ritual practice: they were used in shamanic rituals, bear holidays, magic actions. Their sounding was thought to provide communication with the spirit world.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2019-2-33-44
G. Dordzhieva
The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2019-2-16-25
T. A. Golovaneva
In the paper some features of the collectivization among the koryak reindeer-breeders of Kamchatka (chauchuvens) are shown through historical and family narratives. From governmental point of view narratives containing the descrip- tion of collectivazation were interpreted as antisoviet agitation, and, therefore, such stories weren’t written or published. An interview (2015–2018) with old chauchuvens had shown that memories of those tragic events are still live in Koryak folk history. In nowadays records containing the descriptions of collectivazation time before Soviet power is shown as a time of deer prosperity in families. The idealization of the image of rich reindeer-breeders is also found. In popular and official versions, the polarity of the image of a reindeer-breeder is obvious: from idealization (in popular) to completely negative (official documents and fiction literature). According to historical narratives reindeer-breeders were trying to hide their herds from bolshevists. Unfortunately the hiding of herds was usually followed by arrest of the reindeer-breeders. Attempts of hiding the family herds from the Soviet power are interpreted by narrators as a saving of herds. The Soviet power itself is considered as a destroying power. In narratives reindeer-breeders the opposition is very dis- tinct: local vs foreign. In this type of narratives negative attitude to foreign Russian who destroyed local balance is very strong. The generation who witnessed the collectivization has already gone but their children who listened to the stories about the collectivization and know all those tragic events are still alive. The dying-out of deers and great hunger started after collectivization.
{"title":"Koryak historical narratives about reindeer-breeder’ collectivization","authors":"T. A. Golovaneva","doi":"10.25205/2312-6337-2019-2-16-25","DOIUrl":"https://doi.org/10.25205/2312-6337-2019-2-16-25","url":null,"abstract":"In the paper some features of the collectivization among the koryak reindeer-breeders of Kamchatka (chauchuvens) are shown through historical and family narratives. From governmental point of view narratives containing the descrip- tion of collectivazation were interpreted as antisoviet agitation, and, therefore, such stories weren’t written or published. An interview (2015–2018) with old chauchuvens had shown that memories of those tragic events are still live in Koryak folk history. In nowadays records containing the descriptions of collectivazation time before Soviet power is shown as a time of deer prosperity in families. The idealization of the image of rich reindeer-breeders is also found. In popular and official versions, the polarity of the image of a reindeer-breeder is obvious: from idealization (in popular) to completely negative (official documents and fiction literature). According to historical narratives reindeer-breeders were trying to hide their herds from bolshevists. Unfortunately the hiding of herds was usually followed by arrest of the reindeer-breeders. Attempts of hiding the family herds from the Soviet power are interpreted by narrators as a saving of herds. The Soviet power itself is considered as a destroying power. In narratives reindeer-breeders the opposition is very dis- tinct: local vs foreign. In this type of narratives negative attitude to foreign Russian who destroyed local balance is very strong. The generation who witnessed the collectivization has already gone but their children who listened to the stories about the collectivization and know all those tragic events are still alive. The dying-out of deers and great hunger started after collectivization.","PeriodicalId":112261,"journal":{"name":"Languages and Folklore of Indigenous Peoples of Siberia","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127848641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-2-25-43
I. Plotnikov
This paper aims to present the main features of the intonation system of the Surgut dialect of Khanty. The analysis of five folklore texts narrated by one native speaker distinguished three main intonation constructions (IC). The first one (IC-1), with a rising-falling tone, is typically used to mark the rheme (focus) and the end of the utterance, though its usage can vary depending on the tone level in its final part. The second (IC-2) and the third (IC-3), characterized by even and rising tone, are used on non-contrastive and contrastive themes accordingly. The intonation of utterances is shown to correlate strongly with their syntactic structure. In particular, intonation participates in the formation of complicated syntactic structures, with the IC-1 marking the detached components. Intonation is also used to express the relation between clauses: while communicatively and syntactically homogeneous, non-subordinate clauses are pronounced with IC-1, subordinate clauses are marked by IC-2. In addition, the role of intonation in forming the communicative structure of an utterance is considered. With the word order and communicative structure of Khanty relatively rigid, intonation is used mainly to mark the boundaries between the communicative components of utterances instead of marking their theme and rheme. Even in such cases, intonation is secondary to morphological means of expressing the communicative roles of noun phrases. Due to the limited research material, this work does not claim to be a complete description of the intonation system under consideration. How-ever, the results may serve as a basis for future research.
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