ARCHIVE OF THE CONSERVATORY, WITH A BRIEF HISTORY OF RUSSIAN FIELD RECORDING Barbara Krader

This account of the Folk Music Bureau (Kabinet Narodnoi Muzyki) of the Moscow Conservatory is based chiefly on a brochure by I.K. Sviridova, published in 1966. This and other references are listed at the end. The writer had the good fortune to meet Dr. Anna Rudneva and Professor Evgenii Gippius in 1964 at the Seventh World Congress of Anthropological and Ethnological Sciences, which was held in Moscow, and is grateful for what she learned from them about Soviet folk music research. The material has been organized under six headings: I. Russian Ethno- musicology before 1917 and until 1936; 11. K.V. Kvitka; 111. The Folk Music Bureau, 1937-1953; IV. The Folk Music Bureau since 1953; V. Field Work; VI. Dates of Persons Mentioned. List of Folk Song Collections Issued or Prepared by the Bureau. Table of Statistics of Expeditions and Recordings. References. I

Russian Ethnornusicology before 191 7 and until 1936 Before the Revolution and even today in discussing Russian scholarly re- search one has had to refer to activity in both Moscow and St. Petersburg- Leningrad. So it is with folk music study. To speak only of organized research within a society, the first group specifically devoted to this subject was the Song Commission (Pesennaia Komissiia) of the Russian Geographic Society, organized in 1884 in St. Petersburg. It was formed for the collection, study and propaganda of Russian folk song, and its members included Balakirev, Lyadov and others. The Commission enjoyed the advantage of a government subsidy of 1000 rubles annually, which made it possible to organize expeditions and publish collections. Two important collections were carried out by members of this group and pub- lished in 1894 and 1899. The first expedition, in 1886, traveled northward to the Olonets gubernia (to the far side of Lake Onega) and the western part of the Archangel gubernia. It was led by F. M. Istomin, ethnographer and linguist, and the music was notated by ear by G. 0. Diutsh (Deutsch). The second expedition in 1893 worked in the Vologda and Vyatka gubernias and near the Volga River in the Kostroma and gubernias. Istomin was the leader again and S. M. Liapunov wrote down melodies by ear. The titles and dates of these volumes are given in the bibliography below. Both books have introductions describing the expeditions and the places where the traditions flourished. The Song Commission, according to Popova (vol. 2, 1964, pp. 154-5), con- tinued to work thereafter, but its publications became more and more popular: arrangements for piano and voice, choral arrangements and the like. Band of Peasant Players of Vladimir in 1890's.

Meanwhile, in Moscow, an Ethnomusicological Commission (Muzykal 'no-Etnograficheskaia Komissiia, abbreviated MEK) was organized in 1901, as a subsection of Moscow University's Society for Amateurs of Natural Sciences, Physical Anthropology and Ethnography. One of the first acts of the Commis- sion was to issue a guide on how to collect folk songs and other ethnomusi- cological materials (This was later published in its Transactions (Trudy Muzykal 'no-Etnografcheskoi Komissii), Vol. I, 1906). The MEK had at most some sixty members, includingRirnskii-Korsakov, Taneyev, Ippolitov-Ivanov, Grechan- inov, even Chaliapin. There were several professional musicians who sang folk songs or conducted choruses, several administrators and perhaps eight or nine excellent ethnomusicologists. The focus of their work was to make mechanical recordings and tran- scribe them in as scientific and precise a manner as possible, and to investigate and analyze not only Russian folk songs but also traditional music of other nationalities. Thus, for example, Arakishvili made cylinder recordings in the field in Georgia and has three long articles on Georgian traditional music in the first two volumes of the Transactions of the MEK. Other fundamental collec- tions and studies appearing there were Russian heroic songs (byliny) recorded on the shores of the White Sea in 1901, Don Cossack songs (choral, in several parts), collected by Listopadov in 1902 and 1903, largely notated by ear, and a classic analysis of the Russian bylina, its rhythmic and musical structure, by A.L. Maslov. Evgeniia Lineva (pronounced Linybva), who was the first Russian to make field recordings with a phonograph, was active for a time in the MEK, and her account of field recording in the (recently published in English translation) appeared in volume one of the Commission's Transactions. After the Revolution, the two organizations managed to pick up again, more or less. We read in the journal Etnografiia, vol. 2, 1927, that the Com- mission for the Study of Folk Music of the Russian Geographic Society, in Leningrad, held meetings in 1926 at which papers were read by N. Findeizen, V.M. Beliaev and others, and that the number of members of the Commission had increased to twenty-five (p. 217). In the first volume of Etnografiia (1926), V.V. Paskhalov surveys the activity of Moscow ethnomusicologists for 19 17-1925. Paskhalov, who had been an officer of the MEK, was then the Pres- ident of the Ethnographic Section of the State Institute of Musical Sciences 1 (Gosudarstvennyi Institut Muzykal 'nykh Nauk, abbreviated GIMN). He wrote that part of the old Ethnomusicological Commission entered GIMN in I 1921, as its Ethnographic Section. Basically, however, his survey is a plaintive account of trying to carry on scholarly work with no funds. They continued to 1 record cylinders, in situ, in Moscow, and some 99 had been recorded, some of which included chanting of Russian heroic songs and songs of Far Eastern peoples of the USSR who came to Moscow for an All-Union Exhibition in 1923. Two expeditions were financed by the Institute, one to a township of the Mos- cow region, and the other to the Crimea. He noted that there were then three recording archives (phonoteks) in Moscow, that-of Evgeniia Lineva's collection with 432 cylinders, that of the Piatnitskii Museum with 400 cylinders (Russian folk songs from the and Riazan' gubernias), and the one at his Institute. Reference is also made to private collections by the ethnographers N.F. Yakovlev (Caucasian songs), O.V. Kovaleva (Russian songs from the Saratov gubernia) E.D. Denisova (Russian songs from the Altai Mountains), and O.E. Ozarovskaia (songs from the Arch- angel gubernia). In addition to recording, members of the section made analyses of various types of music. Paskhalov, for example, was working on Oriental music of the Crimea, while N.N. Mironov and Zataevich (both of whom later published books on these subjects) were working on Uzbek and Kirghiz music. The thread is picked up again in an article by Professor Gippius in Sovetskii Fol 'klor 415 (1936), describing his Recording Archive at the Institute of Physical Anthropology, Ethnography and Archeology of the Soviet Academy in Leningrad. The Archive was founded in 1931. Gippius first reviews early Russian sound recording. He dates the first sound recordings from 1895 (the stationary recording of the great bylina chan- ter Ivan T. Riabinin), but I believe these took place in 1894, or even 1893 (cf. Liatskii, E. "I.T. Riabinin i ego byliny" (I.T. Riabinin and his Byliny), Etno- graficheskoe Onozrenie, Book XXIII, 1894, No. 4. See also Tmdy MEK, Protokoly, p. 27). Lineva began to collect in the field in 1897. In 1901, A.D. Grigor'ev took a phonograph on his third expedition to col- lect byliny in the Archangel gubernia. Also in 1901, Markov, Maslov and Bogo- slovskii made phonograph recordings of byliny along the White Sea, and Arakishvili did field recordings in his native Georgia. In 1902 the first attempt was made to record folklore of the peoples of Siberia on the phonograph. By 1905 the total number of recordings by Russian collectors reached about one thousand cylinders, according to Gippius, and by 1914 it was over 2500. Of these about 60 per cent were recordings of Russian folk music of the central regions and folklore of the Don . The leading collectors of these were Lineva, Listopadov () and Piatnitskii (founder in 191 1 of the well- known folk chorus). Much of the remainder was recorded in Siberia by such great ethnographers as B. Ya. Vladimirtsov, V.I. Jochelson, L. Ya. Sternberg, or in Georgia by Arakishvili and others. Unfortunately the Russians had no central depository before the Revolu- tion, and many recordings were lost during the first World War and after. The basis for the Academy Archive in Leningrad was formed in 1926 by the fifty cylinders brought back by Gippius and his gifted wife and collaborator, Zinaida Eval'd, from an expedition in the north to study Russian peasant arts. By 1930 they had recorded more than five hundred cylinders, collecting systematically, with detailed information about the item, performer, date, place, also character- ization of the social function of the item and of the personality of the performer. They made field trips along the Pinega, the Mezen' and the Pechora Rivers. By 1931 they had amassed about 1500 newly recorded cylinders (made from 1926-1930). After the new Archive was founded, concentrated efforts were made to bring together all the recording collections of Leningrad and of Moscow. No doubt, still more of the pre-revolutionary cylinders were lost in transit from Moscow to Leningrad at this time. Gippius was able to get the copying machinery he wanted by 1934, so that study and transcription could be made from copies, and the originals could be preserved properly. Three major studies and collections were in progress or in press when Gippius wrote this article. One was the great collection of Pinega songs based on the recordings made by Gippius and Eval'd in 1927 and 1930. Only book two was published, in 1937, with long commentaries and comparative notes fol- lowing the musical transcriptions. (They are polyphonic songs.) Book one has been described as complete, in manuscript form. Another was Belorussian songs, a collection made in the field in 1932 and 1934, published in 1941 under the editorship of Zinaida Eval'd. This book also contains valuable commentaries. Mitrofan Piatnitskii with his greatest singer, Arinushka Kolobaeva (seated), and a group from the Voronezh gubernia, taken 19 1 1 (?). A basic article by Eval'd, perhaps her greatest contribution to the field, is "The Social Transformation of Meaning of Harvest Songs in the Belorussian Poles'e (Woodlands)" (1934), relating to this Belorussian material. The other large study was of north and south Ossetian folk music, based on phonograph recordings of B.A. Galaev made in 1928,1929,1930 and 1935. It was not to be published until 1964, edited by Gippius (cf. review in the Journal of the International Folk Music Council, XIX (1 967), pp. 129-13 1, by Ernst Emsheirner). In summary, Gippius writes that his Phonogram Archive is (1 936) one of the greatest world archives, possessing even more recordings than the venerable archive of the Vienna Academy founded in 1899. His holdings total more than five thousand cylinders, including 4054 archive originals, 534 temporary working copies, and 109 copies of originals from other archives, and also 126 gramophone records and 323 "retor-discs." The Leningrad Archive still exists today, as part of the Folklore Section of the Institute of Russian Literature of the Soviet Academy, and constitutes the other important Soviet archive, with the Moscow one which is the principal subject of this article. The writer visited the Leningrad Archive in 1960, when it was headed by Mr. B.M. Dobrovol'skii. It had many shelves of cylinders, and its card indexes showed the Lineva collections and the early Siberian ones, among others. Mr. Dobrovol'skii stated that the Archive had the famed cylinder recording of Ivan Trofmovich Riabinin. As far as I know, there is relatively little activity in the Leningrad Archive at present, largely due to lack of funds, although it probably receives recordings from field expeditions of the Lenin- grad Conservatory and from the Folklore Section of the Institute of Russian Literature. In 1960 it had over 500 reels of tape recordings and in 1955-56, it was said to have had over 30,000 folk songs and instrumental tunes on cylinders, discs and tape (50 Let Pushkinskogo Dorna, p. 148).

Klyment Vasil 'evich Kvitka (1880-1953)

Kvitka, the organizer of the Bureau of Folk Music at the Moscow Con- servatory, was one of the great ethnomusicologists of his generation in Eastern Europe. A Ukrainian of peasant background, he was born in Kiev and his schooling was received there. In 1897 he entered the Faculty of Law of Kiev University, graduating in 1902. He also audited the full course of philology in the Philosophy Faculty. His first field collecting began when he was sixteen. In 1898 he began to note down folk songs as sung by Les 'ia Ukrainka (1871-1913), one of the greatest Ukrainian poets, who became his wife. Some ten years later, 19 Mme. Ukrainka worked with him in making phonograph recordings of the kobzar Honcharenko, and she sponsored anonymously a great re- cording expedition for Ukrainian historical songs (dumy),carried out by F. Kolessa. Even in his early collecting, Kvitka compared textual variants and musical variants, seeking to establish a historical sequence. He also strove to fill in gaps in folk music study, and to make more pre- cise the more general information previously gathered. Later, he set himself the task of starting a geographical sys- tematization of Ukrainian folk songs, and to collect songs of all the regions where Ukrainians lived in order to establish the geo- graphic distribution of specific K. B. Kvitka (1880-1953). song types. Such large-scale plans were unusual at that time, and Kvitka was also unusual in that he kept abreast of the research in folk music of other countries, in particular that of Poland, , Rumania, as well as the music of Georgia and Armenia. The culmination of his first period of research are his two great collec- tions: Narodni melodii z holosu Lesi Ukrainky (Folk Melodies from the Voice of Les 'ia Ukrainka), Kiev 1917-1 8 ; Ukrains 'ki narodni melodii (Ukrainian Folk Melodies), Kiev 1922. The first contains 225 songs from the region of Volhynia, the second, with 743 songs, was still regarded in 1955 (Bachinskii, p. 3 19) as the most significant scholarly publication of eastern Ukrainian songs. It in- clundes dumy and laments, also spring songs, especially haivky, and many cal- endar ritual songs. After the Revolution, Kvitka served as head of the Bureau of Ethno- musicology of the Ukrainian Academy of Sciences in Kiev from 1922 to Septem- ber 1933. It was connected with the Ethnographic Commission of the Academy. During these years he continued to do field work, including expeditions in the Kiev, Zhitomir, Vinnitsa, Kamenets-Pod01 'sk and Chernigov Regions of the Ukraine, in the Regions of Vitebsk and in Belorussia, in the Ore1 Region of the RSFSR, and also in Moldavia and the Crirnea. Kvitka's research and writings concerned the methodology of collecting and the analysis of scale and rhythm in Ukrainian folk song, and especially the study of ritual songs, in particular, wedding songs and those attached to specific rituals of the agricultural year (calendar songs). These last he had collected avidly before the Revolution, and he analyzed them as evidence of the only secular music to survive from the Middle Ages. Kvitka also did a remarkable study of professional (i.e., paid) folk singers in the Ukraine, with great attention to the kind of data of everyday life which needed to be collected as documen- tary information. Kvitka's junior colleague, M. Haidai, did a collection of thieves' songs from Kiev jails in 1925, which Kvitka mentions in his survey article published in 1926. This article is not only revealing of conditions for Ukrainian scholars just after the Revolution, but also gives much information about folk music research for the period of about 191 1-1926.

The Folk Music Bureau 1937-1953

Reference was made previously to the State Institute of Musical Sciences (abbreviated GIMN) in which Paskhalov was active. GIMN lasted from 1920 to 1933. Its research activity was picked up by the Moscow Conservatory's Sci- entific Research Institute on Music (Nauchno-issledovatel'skii muzykal 'nyi in- stitut, abbreviated as NIMI), which was begun in 3934. The core of NIMI was its acoustics laboratory, under Professor N.A. Garbusov, who was the director of the Institute as well. The laboratory had recording apparatus and the Institute began taking sound recordings of folk materials on cylinders in its very fust year. The staff members included Professor Kvitka, who was in charge of the folk music research from 1936. In 1937 a Folklore Section was created within NIMI, but this was only of brief duration.

Foundation

In November 1937, by official decree, the Bureau for the Study of Musical Creation of the Peoples of the USSR (Kabinet po izucheniiu muzykal 'nogo tvorchestva narodov SSSR) was established, as part of the Historical and Theo- retical Faculty of the Moscow Conservatory. Its plan of organization had been drawn up by Professor Kvitka. At first it had two sections: one devoted to folk music, directed by Kvitka, and one on the study of the music of Soviet com- posers, directed by Professor N. Ya. Briusova. The Folk Music Section was con- ceived as a scholarly institute with a collection of sound recordings, specialized literature and bibliography, with musical instruments, photographs and other illustrative materials. Its first goal was to fill the gaps in the study of Russian folk musical instruments and to record songs of various genres, for without reliably recorded folk songs a first class university level course on Russian folk music or on any other national folk music could not even be envisaged. (This statement, quoted from Sviridova, p. 5, may have been taken from a document by Kvitka from the 1937-1939 period.) In the early days, as well as later, the staff of the Folk Music Section was small, and conservatory students, graduate students, faculty members and out- side specialists were pressed into service to help. But already in the first years, excursions were made to the Region by Kvitka and Rudneva (1937, 1940), to Azerbaidzhan by Krivonosov (1938, 1939), to the Khanty-Mansi National Area (RSFSR) by Vladykina-Bachinskaia and Bachinskii. To reach the latter area, in Western Siberia north of , they traveled from Moscow three days by train, then flew, changing planes three times, and finally spent five more days transported by reindeer (Popova, 1946, p. 20). In addition to the pro- fessional expeditions, conservatory students collected some songs in the Soviet Far North (from the island of Vrangel', the Chukotski Peninsula, the Uelen promontory, the Anadyr' peninsula). More details of the expeditions will be given below. In the second half of 1940, a Department of Folk Music was established at the Conservatory, chaired by Briusova, and in early 1941 the Old Folk Music section was transferred to her Department as the Bureau (or laboratory) of Folk Music. Briusova was also Director of the Bureau, while Kvitka remained its Scientific Director. In these years just before the War, the staff included 1.K. Zdanovich, V.M. Krivonosov, A.Z. Gummenik, N.M. Vladykina-Bachinskaia, L.A. Bachinskii, A.A. ZaksShuv and T.R. Kim. Active in the Department of Folk Music were Professor V.M. Beliaev, and Rudneva and V.P. Rossikhina, who were then grad- uate students. Others who helped in various ways included L. Kulakovskii and S.A. Kondrat'ev, names now well-known in the field of Russian folk music research. 1 The main activities of the Bureau were already defined: intensified study I of Russian folk music and an opening up of the range of problems linked with f the folk music of the peoples of the USSR. The foundations were laid for the housing of ethnomusicological materials: archives for original recordings, scholarly reports on expeditions, translations, transcriptions, photographic ma- t terials, and folk instruments. Work had already begun in compiling a reference bibliography, writing textbooks for the schools and collecting a special library. By June 1941 the Bureau had sound recordings of 1,790 melodies from 22 peoples of the USSR, a good bibliography on folk music, the ethnography of the USSR and of foreign countries, over 600 notated melodies and transcrip- tions of recordings, rare folk musical instruments of Russian and other Soviet nationalities, and many pictures. A syllabus had been drawn up on Russian folk music for the Moscow Conservatory. (This was apparently not published, but a copy remains in the Bureau's archives.)

Second World War

The German invasion interrupted the development of the new Department. The Moscow Conservatory as an institution was evacuated to Saratov. The Folk Music Bureau, however, remained in Moscow with all its archives and its director, Kvitka. Most of the staff departed: the men to the front and most of the women with children to distant places well behind the front lines. Yet, after the first winter of 1941-42, some activities were resumed. Kvitka gave lectures at the Academy and in hospitals and he and Rudneva lectured on Russian folk music. to students who remained in Moscow. Normal activity of all the faculties of the Conservatory were gradually resumed in the school year of 194445, including the Bureau of Folk Music.

After the War

From 1941-1 949 the number of collecting expeditions was sharply re- duced, but stationary collecting went on at the Bureau from performers who came to Moscow, and from singers and instrumentalists at various musical com- petitions. A major project for the Bureau and the Department of Folk Music just after the war was the preparation of a new course on folk music with various supplementary materials. Professor E.V. Gippius, now in Moscow, had been made Chairman of the Department of Folk Music at the Conservatory. His wife perished in the siege of Leningrad (January 1942) and he was evacuated only barely in time to save his life. Apparently a major part of his work was the devel- opment of a syllabus on Russian folk music for all the faculties of the Conserva- tory, with a special plan for the training of choral directors, and for the study of traditional polyphony not only of the Russians, but also of the Georgians, the Ukrainians and of the Baltic countries. It is not clear whether his syllabus was accepted for general use. In 1949, Professor Gippius retired from the Conservatory, and Kvitka and Rudneva began to lecture. Professor Beliaev taught a course for composers and theorists on the music of the Soviet peoples. Kvitka launched a new course on the musical ethnography of the USSR and of the peoples of Europe outside the Soviet Union. In general in the 19407s,two courses on folk music were developed and adopted, one for the music schools (on the secondary school level), and one for the higher, conservatory level. The first was also given (apparently required) at the Moscow Conservatory for those who had missed it earlier. This was musical ethnography, a survey of genres and a study of folk music in relation to music by Russian composers. The students had to memorize a certain number of folk songs! The second course investigated the poetry and music of Russian folk songs of various genres and epochs. Once these courses were established, however, the Conservatory lectures were sharply reduced, as they had been transferred to the music schools. The Department of Folk Music, in fact, ceased to be active. The staff of the Bureau changed too, and in 1953 Kvitka died.

The Folk Music Bureau since 1953

In 1955-1959, Vladimir I. Khar 'kov was chief of the Bureau. During that period the number of expeditions increased, and he developed extensive par- ticipation of students in the expeditions. An example is the expedition of sixteen students from the Moscow Conservatory and the Gnesin Music Teachers Training Institute which collected in the Krasnoyarsk Kray in Siberia in the summer of 1956 under Khar 'kov's direction. Armed with portable tape recorders they split into three groups, working with different Russian rural settlements. (It should be recalled that Russians settled in the area from the early 17th Century). One group concentrated on the repertory and singing skill of the older men and of mixed choruses of older people. Another sought to ascertain the entire local repertory of that time, but recorded only women's songs. The third group, which moved about more, was freer in the range of the informants chosen, as well as in the types of songs recorded. This resulted in a published collection of 130 songs in 1959, and more and more study of Russian folk song tradition in Siberia followed. Since 1959 Anna Vasil 'evna Rudneva has directed the Bureau. She began to work there in 1939, and served her apprenticeship with Kvitka, as will be described below. A specialist on the region of Kursk, a south Russian area about 250 miles south of Moscow, bordered on the west and south by the Ukraine, she wrote her candidate dissertation on the traditional folk dances and dance songs of that region, as well as on the regional folk instruments and how they are played. It includes an analysis of the dance and instrumental music. She is also an authority on folk choruses, their training, direction, and appro- priate repertory. Her doctoral degree was awarded in 1964. A small, white- haired, quick-moving and energetic lady, Dr. Rudneva continues to do field collecting along with teaching and administration. Under her, conservatory stu- dents have been assigned more practical or active work, such as transcribing recordings, participating in expeditions (involving 20-25 persons a year), and learning how to analyze folk music. Thus in 1968 we were informed that stu- dents in their third and fourth years had collected in the Bryansk region in areas bordering the Ukraine and Belorussia. Also Mr. A. Kabanov had made new re- cordings of Cossack songs from Terek and the for his diploma paper, "Polyphony in the Cossack Song." Since 1965, Rudneva has been teaching a course at the Conservatory on the folk music of the Soviet peoples, and is work- ing hard to expand the Bureau's collections of non-Russian Soviet traditional music.

Recording in Kursk Region, 1962. Staff of Bureau 1966. Seated: K.G. Svitova, Rudneva, T.K. Kim. Standing: Rabinovich, N.M. Petrova, I.K. Sviridova, E.S. Bulgakova, V.M; Shchurov.

Other professional members of the staff (as of 1966) are: Miss T. K. Kim, technician (since 1940) ;Miss K.G. Svitova (since 1944) ;B.1. Rabinovich (since 1956);V.M. Shchurov (since 1959), who has been head of the section on texts since 1961, and Miss I.K. Sviridova (since 1962). We are informed that in 1968 Mr. Shchurov was completing his candidate dissertation (the equivalent of our doctoral dissertation) on some features of style in south Russian folk songs, based on recordings from the , Voronezh, and Kursk Regions with various comparative material. In 1966 the Bureau had in its archives, located in the Conservatory build- ing on Herzen Street, over 17,000 recorded melodies, and about 4500 trans- criptions (notations). By the beginning of 1968 the number of recordings had increased to about 20,000. As Rudneva stresses, these include some recordings made more than once as well as variants of the same songs recorded in the dif- ferent regions. The staff has produced pedagogical and scholarly works and has published or prepared for press more than twenty folk song collections, dissertations, studies and students' papers. Articles in the press have been and are being written on the basis of the materials in the Bureau. Some songs from the Bureau's archives have been adopted, in arrangements and in their original forms by professional folk choruses, e.g., the All-Union Radio Chorus, The Piatnitsky Chorus and others. Rudneva has also succeeded in bringing outstanding folk performers from various regions into Moscow, and arranging folk music performances in the city. From one such concert, in Decem- ber 1967, the best performers were recorded for long playing phonograph records and, hopefully, these will be issued as commercial records. Concerts by authentic rural performers presumably with minimal alterations for urban audiences, are beginning to be organized in Leningrad, Minsk and elsewhere. (While great village soloists performed before 1917 in the cities, and the Piat- nitskii chorus began in 191 1, basically as three groups of peasants from villages of the Voronezh, Riazan' and Smolensk districts, the professional "folk" choruses are now much further removed from local rural practices.) The Bureau works with the Union of Composers of the USSR, and indeed the Union has helped to pay the costs of several student folklore expeditions. On the other hand, four members of the Bureau are members of the Union of Composers' Folklore Commission and thus have been helping to prepare the multi-volume publication of Russian folk songs which that Commission has undertaken.

Field Work A Collecting Trip

In a brief article in a centennial volume of Recollections of the Moscow Conservatory (1966), Rudneva tells of her trip with Kvitka to the Kursk Region in July 1940. Prior to that she had worked for her first year transcribing sound recordings from the 1937 Kursk expedition. She had also had the duty of or- ganizing the 1940 trip and the responsibility for the technical details of it. During their first two days in the town of Kursk they visited the Party Section on Propaganda, where they reported their goal and itinerary; the local museum; the editorial office of the regional newspaper, where they obtained clippings from the paper and photographs of amateur performances and perform- ers who interested them; the regional House of Folk Creation (Dom narodnogo tvorchestva), to confirm their itinerary and get more information on folk in- struments still in use; the teacher's institute, and local teachers who were col- lecting the regional folklore. When they reached a village, Kvitka took out a book and showed the peo- ple a picture of Kursk dudari (pipers), and then explained why he was recording folk music. It was his custom to ask everyone he met about performers. Then he went first to those whose names he had heard most often. This proved effec- tive, as they were the persons the people admired as the most highly skilled musicians. Kvitka's special goal in 1940 was to collect documentary evidence on the panpipes. For this he not only sought performers and recorded their tunes on the phonograph, but also succeeded in having the instrument made in his pres- ence (with Rudneva photographing the process). He also found a kind of work- shop where they were made, and recorded performances on the instruments he found there. He directed Rudneva to do independent study of the dudka and pyzhatka (types of whistle ), zha~eika(double ), lira (hurdy-gurdy), and I skripka (three-stringed ), while he worked only on the panpipes. They ~ also made notes of dance formations, the rhythm of the dances, folk costumes, and recorded round dance songs (melodies and words). More details of collecting methods are given in Bachinskaia's booklet of instructions for the folk song collector (1953). Space cannot be spared here for more than the above personal sketch.

Collecting of Instruments and Instrumental Music

In the summer of 1937, Kvitka led an expedition to seek the old Russian folk instruments called kuvichki (panpipes), (a three-stringed bowed in- strument, held vertically) and lira, for the literature indicated that these had been widely played in the Kursk Region, especially in the southern areas. They found the playing of panpipes (the local name was kugikly) truly widespread and in several places, played only by women. Phonograph recordings were made. In 1940 they verified data collected in 1937 and explored further areas and settlements. The panpipes were also found in the Orel, Bryansk and Riazan' Regions. In 1939 Kvitka, with an acoustician, went to the Komi Autonomous Republic (whose western boundary is about 400 km. east of Archangel), where he studied their panpipe called kuirn-chipsan. Later he wrote a report (unpublished) on the instruments of the Komi-Zyrians, including the kuim- chipsan, the sigudek (a kind of fiddle), and the large chipsan (a type of .) Duari (pipers) of the village of Dolzhenkovo; two on left play the dudkaj, one on right plays pyzhatka. Not until 1940 was the Bureau able to find a lira and record performances of it. L.V. Kulakovskii was the discoverer of a hurdy-gurdy player in an area now belonging to the Bryansk Region. In 1953 Svitova and Bachinskii found a player in the area of the Bryansk Region, recorded several tunes from him, and brought back an instrument for the Bureau's collection in Moscow. In the brochure of 1966, Sviridova states that the Bureau has never been able to find a gudok or a performer on it. She states that it is known to have been played in the Kursk area in the 1870's with instrumental ensembles which in- cluded the . Presumably the violin gradually replaced it. Agazhanov in his book of 1949 reproduces a picture (p. 19) of a player of the 1850's, holding the gudok at rest on his knee. He states on p. 18 that "at the present time there is not a single specimen of a Russian gudok in the museums or in any collection known to us." Kvitka began to study the skripka first in the Kursk Region, then in 1940 in the Smolensk Region, where he found it played in pairs, in duets. From these areas he collected various dance and wedding tunes. In 1953 Bachinskii and Svitova found a homemade fiddle in the Bryansk Region. In the 1950's and 1960's V.I. Khar'kov collected fiddle tunes in solo and duet performance, and discovered ensembles composed en- tirely of in the Smolensk Region and also in the Irkutsk area in eastern Siberia. On the same 1940 expedi- tion to the Smolensk Region, Kvitka collected tunes played on the Smolensk double flute, photo- graphed the players and acquired three sets of instruments for the Bureau. Valuable phonograph re- cordings of the shepherd's horn were also made on that field trip. In 1941, on a short trip to the Region, Kvitka found treshchotki (a kind of rattle) in a regional museum. He managed to find a woman who knew how to Player on double flute use them, photographed her (the (dvoichatka), Smolensk Region, 1940. photograph is reproduced in Agazhanov's book on page 28), and acquired the instrument, but he failed to record its sound. A 1949 expedition to the same region also made no recording, but in a 1956 field trip in the Kursk Region, headed by Rudneva, at least a woman singer was found who imitated the move- ments made when playing the treshchotki, and eventually one was made accord- ing to her instructions. The zhaleike, a single instrument which occurs as a single pipe or two pipes fastened together, has been studied extensively by the Bureau. A shepherd player was recorded in the Kaluga Region in 1937, and more recordings were made in Moscow from shepherd players of the Moscow region in 1940. A later field trip there in 1961-62 by Shchurov made further recordings, this time on tape, of tunes on the double . In the Kursk Region it is played as part of an instrumental ensemble. The Bureau also has recordings of tunes played on the Vladimir horn, and has two horns in its collection. Boris F. Srnirnov, who recently published a book on the subject, carried out part of his study while a member of the Bureau's staff. In the Voronezh Region in 1943, some limited data were collected by Rudneva on the cimbalom (tsimbaly), including its measurements, the manner of performance, and the way it was made; dance pieces played on that instru- ment were recorded.

Roundelays, Calendar and Wedding Songs and Laments

From 1939 to the publication of her basic monograph on the subject in 1951, Nina Mikhailovna Bachinskaia worked intensively on the special round- elay (khorovodnye) songs and their dances (khorovody).Her study was based on her own field work in the Vladimir, Ore1 and Moscow Regions, and on the collections of others in the Bureau from the Kursk, Bryansk and Kuibyshev Regions. They recorded songs as well as dances and their choreography and photographed various aspects. One of the high points in this fieldwork was Kulakovskii's discovery in 1940 of the performance of an ancient spring ritual dance called, "The Burial of Kostroma." It was found in the village of Dorozhevo in the Bryansk Region, , during his expedition for the Bureau. Further details on this are given in the writer's survey of Russian folk music research (1963). Another valuable contribution to the study of dance songs and instru- mental tunes is owed to Rudneva, whose candidate dissertation on roundelay and dance songs of Kursk was based on more than 200 melodies recorded in the field and on expeditions to Kursk over a twenty-five year period. Karagodnaia dance (pliaska) "troika" with music, village Dolzhenkovo, Kursk Region.

Calendar songs were a special interest of the Bureau from the beginning. Kvitka concentrated much of his research in this area, partly as he regarded these melodies as especially archaic. He wrote several studies on particular typcs, such as carols, harvest songs, Lenten songs as well as comparisons of Russian, Ukrainian and Belorussian songs of the same function. Most of these papers remain unpublished, but one was published in 1941 which includes comparative remarks and musical notations. As a result, the Bureau has an excellent collec- tion of calendar songs, especially from the southwestern Russian regions border- ing on the Ukraine and Belorussia. The Smolensk and Bryansk Regions turned out to be the richest, for complete cycles of the entire agricultural year were discovered and collected there. Special efforts have also been made to record wedding songs and funeral laments, in particular the latter, as few have ever been published. An interesting aspect of Russian folk tradition is the wedding lament, sung for or by the bride lamenting her change of status. The Bureau has recorded many of these. In general, the Bureau is now working on its wedding songs to systematize and analyze them. Karagodnaya circle dance with accompaniment, village Dolzhenkovo, Kursk Region.

Regional Collections

As Sviridova writes (p. 35): "A systematic investigation of separate re- gions will permit us to make a folk music map of our multinational country. But this task is extremely difficult, not only because it demands activity on a very large scale, but also because within the regions, areas, and sometimes even rather small villages completely different song layers, styles, traditions are found. Therefore, in order to study the musical life of a single area or village, it is well to return several times, since only repeated visits make it,possible to get a basic knowledge of the singing culture of a given place, and at the same time to dis- cover the stylistic traits in common of areas remote from each other. Finally if trips are made after intervals of ten to fifteen years, the evolution of the folk tradition can be traced. So far we have succeeded in getting to know only a few raions of the Russian regions (oblasts) and autonomous republics comprising the RSFSR." She goes on to say that the regions which have been repeatedly and fully studied are those of Vladimir, Bryansk, Kursk, Belgorod and Voronezh. Others which have been well studied but far from completely are those of Smolensk, Ore1 and . Still others have only been touched by preliminary scouting ex- peditions and await repeated visits and more detailed study. Northern European

The Moscow Bureau has, in general, not sent expeditions to the north, as the Leningrad specialists cover that area. They did make valuable stationary recordings in 1944, however, when Professor Gippius was already in Moscow, of a group of women singers from the Pinega River Region. The singers were in Moscow with the State Chorus of the North, and were persuaded to sing about 150 songs for Gippius, Rudneva, and Vladykina-Bachinskaia.Many songs were sung in two variants: one, performed by the two best singers, and the other performed as a chorus. These recordings still serve as models in studying the northern singing traditions, and even the directors of the Northern Chorus turn to them as standards of the style. In recent years, expeditions with Conservatory students have visited the Archangel Region (in 1959,1961,1963,1965), so the Bureau now has a wider variety of northern material. This area is regarded more and more as important in order to trace historical connections from the Don Region. They also feel that the northern tradition casts light on the folk music of Siberia.

Siberia

A description was given earlier of the Bureau's expeditions to Krasnoy- arsk in 1956 and 1957. Many of their informants recalled songs from the regions of Voronezh, Smolensk, Kursk or Archangel, but they had changed so much that the investigators still find it difficult to link them with a direct source. They found especially interesting what they called the Krasnoyarsk songs proper, which were sung in strict Siberian style in polyphony and an original rhythm. Usually the best polyphonic singing was done by small groups which had a long tradi- tion of singing together-often members of one family. With regard to genres of songs, the Krasnoyarsk people sang the protracted (protiazhnye) lyric songs most, but also many "evening" songs (vecherochnye), while they appeared to know fewer roundelays and wedding songs. An exploratory group directed by Miss S. Pushkina went to the Irkutsk Region in 1958 and brought back recordings of about four hundred songs of various genres. There they discovered quite unexpectedly a very interesting choral singing of a polyphonic style of variation, which is close to the central Russian performance style. An expedition to the Arnur Region in 1959, led by V. Khar'kov with stu- dents from the Moscow Conservatory and the Gnesin Music Teachers Training Institute (also in Moscow), was very successful. From their investigation of the Khingano-Arkhara area (raion), they recorded two hundred items, mostly Cos- I sack historical and military songs. Although many of the songs had been col- lected earlier in , the Siberian variants had their own special local melodiousness and their own traditions of performance. Pushkina has compiled a collection of seventy Russian folk songs from the Arnur Region from the materials of this expedition.

Cossack Songs

The Bureau first recorded Cossack songs in Moscow in 1945 from Cos- sacks of the Groznyi Region in the Chechen-Ingush Autonomous Republic (RSFSR). These were historical songs of the performed in the grand polyphonic manner. In 1961, Pushkina led a student group to the Volgograd (formerly Stalin- grad) Region, where they collected 129 Cossack songs, mostly polyphonic, in- cluding many which had earlier been collected by Listopadov. One of the most interesting of all the Bureau's expeditions is that led by Sviridova to study the so-called Nekrasov Cossacks who are now settled in the Stavropol' Kray. This is a particularly fascinating group, for it has lived far away from its original home for nearly 250 years,and thus may have preserved song traditions of the late seventeenth and early eighteenth centuries. These Cossacks revolted against in 1707, but suffered a disastrous de- feat and subsequent punishment, after which the survivors, some 80,000 per- sons, under Nekrasov, moved to the Kuban area. About 1740 they moved to the region of Dobrudja, on the Danube, where they remained some 130 years, but during the Russian-Turkish war many of them migrated again, far into Anatolian Turkey, to Lake "Mainos" (Manias?). In 191 2 a group moved to Georgia and then to the Kuban, and were later granted land in the Krasnodarsk Kray by Soviet authorities. The last of them returned to the USSR in September 1962 and settled in the Stavropol' Kray. Of the 210 songs recorded on tape in the two-week expedition in 1963, several were heroic songs, the others lyric, or ritual wedding, or calendar songs. The heroic songs were mostly sung in the Don Cossack manner, i.e., in parts with one melody dominating in importance. Among the lyric songs were many prison laments and soldier songs, particularly on the theme of the youth dying in a foreign land. The ritual songs seemed very archaic, with narrow ambitus and lacking a sharp metric framework. The calendar songs had lost their association with the calendar and were sung at any time. It was interesting to find that some of the wedding songs were performed according to the heroic or bylina tradition. It remains for the scholars to determine what elements of these songs are actually preserved from the eighteenth century. For, as Sviridova is aware, their singing, too, has evolved. Yet the specialists believe the Nekrasov tradition is much better preserved than the "uninterrupted" singing tradition which con- tinued along the Don.

Conclusion

I The writer hopes this account has shown that Russian scholarship in the field of folk music did not spring up overnight, but has a considerable and • highly respectable history; that several attempts were made in the 1920's to continue and expand the work; that in both Leningrad and Moscow there now exist recording archives founded in the 1930's with materials from many parts of the Soviet Union, and these materials are being added to, studied and pub- lished. While at present there is little contact between these archives and their counterparts in Western Europe and the United States, we may all hope that more contacts and cooperation can soon develop. We also hope that the Soviet archives may soon be able to issue records of authentic folk music recorded in the field. For even though at present there may not be much interest in such records within the USSR, there are a hundred specialists and research centers abroad who are eager to havefield recordings of Soviet traditional music with appropriate scholarly documentation. I am sure that our colleagues are ready to produce excellent records as soon as the means are given to them. Dates of Persons Mentioned

Arakishvili (Arakchiev), Dimitrii Ignat 'evich (1 873-1 9 53) Beliaev, Viktor Mikhailovich (1 888-1968) Briusova, Nadezhda Yakovlevna (1 881-1 95 1) Diutsh, Georgii Ottonovich (1 857-1891) Dobrovol 'skii, Boris Mikhailovich (1 9 14- Evald, Zinaida Viktorovna (1 896(?)-1942) Gaidai, Mikhail Petrovich (1 878- Garbuzov, Nikolai Aleksandrovich (1 880-1955) Gippius, Evgenii Vladimirovich (1 903- Khar 'kov, Vladimir Iosifovich (1 900- Kolessa, Filaret Mikhailovich (1 871-1 947) Kondrat 'ev, Sergei Aleksandrovich (1 896- Krivonosov, Vladimir Mikhailovich (1 904-1941, in battle) Kulakovskii, Lev Vladimirovich (1 897- Kvitka, Klyment Vasil 'evich (1 880-1953) Liapunov, Sergei Mikhailovich (1 859-1924) Lineva, Evgeniia Eduardovna (1 853-19 19) Listopadov, Aleksandr Mikhailovich (1 873-1949) Maslov, Aleksandr Leont 'evich (1 874-19 14, in battle) Mironov, Nikolai Nazarovich (1 870-1952) Paskhalov, Viacheslav Viktorovich (1 873-195 1) Piatnitskii, Mitrofan Efimovich (1 864-1927) Rudneva, Anna Vasil 'evna (1 903- Smirnov, Boris Fedorovich (1 9 12- Zataevich, Aleksandr Viktorovich (1 869-1936) List of Folk Song Collections Issued or Prepared by the Bureau

Aksenov, A. N. Tuvinskaia narodnaia muzyka (Tuvinian Folk Music). Edited with foreword by E. V. Gippius. Moscow, Muzyka, 1964.

Bachinskaia, N. M., I. K. Zdanovich, V. M. Krivonosov. Kirgizskii muzykal 'nyi fol 'klor (Kirfiz Folk Music). Moscow-Leningrad, Muzgiz, 1939.

Bachinskaia, N. M. Russkie narodnye pesni Orlovskoi oblasti (Russian Folk Songs of the Ore1 Region). Orel, Orlovskoe knizhnoe izdatel 'stvo, 1958.

Bachinskaia, N. M. Narodnye pesni Orlovskoi oblasti (Folk Songs of the Ore1 Region). Moscow, Muzyka, 1964.

Khar 'kov, V. I. Russkie narodnye pesni Krasnoiarskogo kraia (Russian Folk Songs of the Krasnoyarsk Area). Part I. Moscow, Sovetskii kompozitor, 1959.

Khar 'kov, V. I. Russkie narodnye pesni Vladimirskoi oblasti (Russian Folk Songs of the Vladirnir Region). Vladimir, 1958.

Londonov, P. and E. Prokhorov. Narodnye pesni Penzenskoi oblasti (Folk Songs of the Penza Region). Moscow, Sovetskii kompozitor, 1961.

Pavlova, G. B. Narodnye pesni Smolenskoi oblasti, napetye A. I. Glinkinoi (Folk Songs of the Smolensk Region Sung by A. I. Glinkina). In press.

Pavlova, G. B. Narodnye pesni, nepetye zasluzhennoi artistki RSFSR 0.V. Kovalevoi (Folk Songs Sung by 0.V. Kovaleva, Honored Artist of the RSFSR). In manuscript. Kovaleva was a composer and professional singer.

Pushkina, S. I. Russkie narodnye pesni, napetye M. F. Malkinoi (Russian Folk Songs Sung by M. F. Malkina). Moscow, Sovetskii kompozitor, 1963.

Pushkina, S. I. Pesni Amurskoi oblasti (Songs of the Amur Region). In man- uscript.

Rabinovich, B. I. and V. I. Khar'kov. Russkie narodnye pesni Vladimirskoi oblasti (Russian Folk Songs of the Vladimir Region). In manuscript. Rudneva, A. V. Kurskie narodnye pesni; khorovodnye, pliasovye pesni, in- strumental 'nye p 'esy (Kursk Folk Songs; Round Dance and Ordinary Dance Songs, Instrumental Pieces). In manuscript. 180 melodies.

Rudneva, A. V. Narodnye pesni Kurskoi oblasti (Folk Songs of the Kursk Region). Moscow, Sovetskii kompozitor, 1957.

Rudneva, A. V. Pesni Podmoskov'ia, sobrannye P. G. IArkovym, zapisannye A. V. Rudnevoi (Songs of the Moscow Environs, Collected by P. G. Yarkov, Transcribed by A. V. Rudneva). Moscow-Leningrad, Muzgiz, 195 1 .

Rudneva, A. V. Narodnye pesni Moskovskoi oblasti (Folk Songs of the Moscow Region). Moscow, Muzyka, 1964. Reedition.

Rudneva, A. V. Narodnye pesni Voronezhskoi oblasti (Folk Songs of the Voronezh Region). In manuscript.

Rudneva, A. V. and V. I. Khar'kov. Russkie narodnye pesni Krasnoiarskogo kraia (Russian Folk Songs of the Krasnoyarsk Area). Part 11. Moscow, Sovetskii kompozitor , 1961 .

Shchurov, V. M. Narodnye pesni Belgorodskoi oblasti (Folk Songs of the Belgorod Region). In manuscript.

Svitova, K. G. Narodnye pesni Brianskoi oblasti (Folk Songs of the Bryansk Region). Moscow, Muzyka, 1966.

Svitova, K. G. Sovremennye nar odnye pesni (Contemporary Folk Songs). In manuscript.

Travina, I. K. Udmurtskie narodnye pesni (Udmurt Folk Songs). , 1964.

Vamba (Iskhakova), R. A. Tatarskie narodnye pesni (Tatar Folk Songs). In manuscript. Table

No. of field RSFSR (The expeditions Russian Union (as vs. sta- Republic) : Years of tionary re- Kind of Quantity of re- Regions recording cording) recording cordings listed

Archangel 6 discs, dictaphone 181 (Russian and tape, 647 Nenets songs) by ear 11 8

Amur 1 tape Belgorod 5 tape

Bryansk 15 Phonograph, dictaphone and phonograph, tape

Chely abinsk 1 tape Far Eastern disc, dictaphone Kray (Khabar- ovsk city) Gorky tape

Irkutsk tape

Ivanov disc, tape Kalinin by ear tape Kaluga discs dictaphone tape phonograph Kirov tape Kostroma phonograph tape Krasnodarsk discs Kray by ear tape Krasnoyarsk 1939,1944, 6 phonograph 46 Russian songs, Kray 1945,1956, tape 496 also songs of 1957 (3) Evenki, Nenets and other Siberian peoples No. of field RSFSR (The expeditions Russian Union (as vs. sta- Republic): Years of tionary re- Kind of Quantity of re- Regions recording cording) recording cordings listed

Kuibyshev 1937,1940, 3 phonograph 215 1946, 1948(3), 1954(2), 1956, 1962,1964 Kursk 1937,1940 phonograph 176 1946, 1948(3), disc, phonograph 90 1954(2), 1956, tape 818 1962,1964 Lipetsk 1964 Magadan 1936,1937, phonograph 56 (Eskimo, 1939(2), 1963 disc, phonograph 71 Chukot songs) tape 39 Moscow 1939,1942, dictaphone 4 1944(4), 1947, phonograph 44 1950(2), 1952, disc 73 1955, 1956, by ear 118 1958, 1961(2), various combi- 421 1962(2) nations of disc, dictaphone, by ear, tape (not clear how many of which) Omsk 1953 phonograph 6 9 tape 206

Orenburg 1948,1961 disc tape Penza 1958(2) tape 89 Perm 1948, 1954, disc 5 1959, 1961(2), tape 555 1962 1948,1954, discs 5 Riazan' 1939,1947, phonograph 6 1 1949(3), 1959, discs 36 1960,1961 tape 133 Rostov 1948,1954 discs tape Saratov 1948149, 1953, tape and disc 39 1961 tape 4 1 Sakhalin 1964 tape 50 (songs of Nivkhi) No. of field RSFSR (The expeditions Russian Union (as vs. sta- Republic Years of tionary re- Kind of Quantity of re- Regions recording cording recording cordings listed

Smolensk 3 phonograph 79 disc 109

tape 5 14

Stavropol' 2 tape 251 (Russian and Kray Karachay songs) Sverdlovsk 1 phonograph(exped.) 87 (Russian Udmurt, I disc 23 Tatar, and tape 3 Armenian songs) Tambov discs 5 Tyumen' 4 phonograph 98 (Nenets, Khanty, phonograph and by Mansi songs) ear 183 tape and by ear 102 Tomsk disc tape

Tula phonograph by ear tape Vladimir phonograph by ear dictaphone discs tape Volgograd phonograph (S talingrad) tape

Vologda tape

Voronezh discs dictaphone phonograph tape by ear Y aroslavl phonograph discs tape No. of field Autonomous expeditions Republics (as vs. sta- within the Years of tionary re- Kind of Quantity of re- RSFSR recording cording recording cordings listed

Bashkir 1939,1948, 2 discs 7 Bashkir songs ASSR 1949,1954, phonograph 8 1958 tape 3 1 Buryat 1938,1941, discs 13 Buryst, other ASSR 1948,1949, by ear 8 Mongol, Russian, 1954 tape 16 Evenki, Yakut songs. Chechen- 1945,1948 discs, dictaphone 74 Russian songs Ingush discs 2 ASSR Chuvash 1948, 1954, 1 discs 1 Chuvash songs ASSR 1958 tape 20 Dagestan 1937,1954 2 phonograph (exped). 45 Dagestani songs ASSR 1959 tape 83 Karelian 1939,1960, 4 dictaphone 2 Karelian, ASSR 1963(2), 1964 tape 483 Finnish, Russian songs Komi 1939,1960 1 phonograph (exp.) 15 Komi-Permyak ASSR tape 3 instrumental tunes. Mari 1960,1963 1 tape 5 1 Mari songs ASSR Mordvin 1944, 1948, 1 discs 5 Mordvin songs ASSR 1954,1956 tape 9 phonograph(exp.) 13 North- 1941,1954 1 discs(exp.) 48 Ossetien songs Ossetian tape 16 ASSR Tatar 1947,1955, 4 dictaphone 150 Tatar and Russian ASSR 1956, 1960(2) phonograph 51 songs tape 395 Tuvinian 1944,1945, 1 by ear (exp.) 92 Tuvinian songs ASSR 1948,1954 discs 5 tape 3 Udmurt 1937(2), 1954, 4 discs 5 Udmurt songs ASSR 1957,1958, phonograph 10 1959 tape 292 Yakut 1939,1946, 2 phonograph(exp.) 4 Yakut songs ASSR 1957,1958, discs, phonograph 21 1962,1964 tape 335 No. of field expeditions (as vs. sta- Other Union Years of tionary re- Kind of Quantity of Republics recording cordings) recording recordings listed

Azerbaidzhan 1938(2), 1939(2) 2 ~honogra~h(ex~.)5 3 Azerbaidzhan discs Armenia 1938 1 phonograph 2 Armenian songs Belorussia 1939,1945, 1 discs 45 Belorussian songs 1946,1950, discs, dictaphone 19 1959 by ear (exp.) 15 tape 30 Estonia 1956 tape 135 no indication 1930 (sic) discs 4 Kazakh songs Kirghizia 1939,1956 1 discs 6 Kirghiz songs tape (exp.) 6 6 Latvia 1953 tape 24 Latvian songs Tadzhikistan* 1959, 2? tape 110 Tadzhik songs 1961(?) Turkmenia 1960, 1961 2 tape 42 Turkmen songs Ukraine 1940(2), 1948, 3 dictaphone 16 Ukr., Russian 1950,1954 discs 29 Jewish, Hungar- 1962(2), 1965 tape 391 ian songs

Foreign Countries

Albania 1953 tape 11 Albanian songs Bulgaria 1951,1964 tape 16 Bulgarian songs India 1963 tape 9 instrumental music from Charodi (sic) and Calcutta Mongol 1947 (Ulan-Bator) by ear 40 Mongol songs People's Republic Yugoslavia 1956 tape 20 Yugoslav, Serbian and Macedonian songs (sic) * Under Tadzhikistan the expedition in 1961 is said to have taken place in the town of Ashkhabad. This was probably in error, and Dushanbe, the capital of Tadzhikistan was probably meant. References

Sviridova, I. K. Kabinet narodnoi muzyki (Bureau of Folk Music). Moscow, Muzyka, 1966. 102 pp. (Title page has name of the Moscow State Conserva- tory and the title, but no author.)

Agazhanov, A. Russkie narodyne muzykal 'nye instrumenty (Russian Folk Musical Instruments). Moscow-Leningrad, Muzgiz, 1949. 54 pp. Bachinskaia, N. M. Pamiatka sobiratelia narodnykh pesen (Instructions for the Collector of Folk Songs). Moscow, Muzgiz, 1953.48 pp.

Bachinskaia, N.M. Russkie khorovody i khorovodnye pesni; nauchno-popu- liarnyi ocherk (Russian Round Dances and their Songs; a Popular Outline). Moscow-Leningrad, Muzgiz, 195 1. 1 10 pp. Bachinskii, L. "K. V. Kvitka", Voprosy Muzykoznaniia. vypusk 2 (Moscow, 1955), pp. 317-321. Obituary. Eval'd, Z. K. ed. Belorusskie narodnye pesni (Belorussian Folk Songs). Moscow-Leningrad, Muzgiz, 1941.

Eval'd, Z. K. "Sotsial 'noe pereosmyslenie zhnivnykh pesen belorusskogo Poles'ia" (The Social Transformation of Harvest Songs of the Belorussian Poles'e (Woodlands)), Sovetskaia Etnografiia 1934, No. 5, pp. 17-39. Gippius, E. V. "Fonogramm-arkhiv Fol'klornoi sektsii Instituta antropologii, etnografii i arkheologii Akademii nauk SSSR" (The Recording Archive of the Folklore Section of the Institute of Physical Anthropology, Ethnography and Archeology of the Soviet Academy of Sciences), Sovetskii Fol 'klor No. 415 (1936), pp. 405413. Gippius, E. V., ed. Osetinskie narodnye pesni, sobrannye B. A. Galaevym v zvukozapisiakh, notirovannykh sovmestno B.A. Galaevym i E. V. Gippiusom (Ossetian Folk Songs, collected by B.A. Galaev on Sound Recordings, transcribed jointly by Galaev and Gippius). Moscow, Muzyka, 1964. 249 pp.

Gippius, E. V. ed. Pesni Pinezh'ia; materialy fonograrnm-arkhiva sobrannye i razrabotannye E.V. Gippius i Z. V. Eval'd (Songs of the Pinega River Area; materials of the recording archive, collected and prepared for publication by Gippius and Evald). Book 2. Moscow, Muzgiz, 1937,588 pp. (Trudy Instituta Antropologii, Etnografii i Arkheologii Akademii nauk SSSR, vol7.) Gippius, E.V. and.Z. V. Eval'd. "Zamechaniia o belorusskoi narodnoi pesne" (Observations on the Belorussian Folk Song), in Eval'd, Z. V., ed. Belorusskie narodnye pesni, 1941, pp. 110-1 22.

Istomin, F. M. and G. 0. Diutsh. Pesni russkago naroda, sobrany v guberniiakh Arkhangel 'skoi i Olonetskoi v 1886 godu. Zapisali slova F. M. Istomin, napevy G. 0. Diutsh (Songs of the Russian People, collected in the Archangel and Olonets gubernias in 1886. Texts notated by Istomin, melodies by Diutsh). St. Petersburg, Published by the Imperial Russian Geographic Society, 1894. xxiv, 244 pp. map. 119 songs. Istomin, F. M. and S. M. Liapunov, Pesni russkago naroda, sobrany v guber- niiakh Vologodskoi, Viatskoi i Kostromskoi v 1893 godu. Zapisali slova F. M. Istomin, napevy S. M. Liapunov (Songs of the Russian People, collected in the Vologda, Vyatka and Kostroma gubernias in 1893. Texts notated by Istomin, melodies by Liapunov). St. Petersburg, Published by the Imperial Russian Geographic Society, 1899. xix, 279 pp. map. 164 songs. Krader, Barbara. "Soviet Research on Russian Folk Music since World War 11", Ethnomusicology VII (1 963), pp. 25 2-26 1. Kulakovskii, L. V. Iskusstvo sela Dorozheva; u istokov narodnogo teatra i muzyki (The Art of the Village of Dorozhevo; at the source of folk theater and music). Moscow, Sovetskii kompozitor, 1959. 140 pp. 2nd rev. and enl. ed. Moscow, Muzyka, 1965. 152 pp. Kvitka, K. V. "Muzykal'naia etnografiia na Ukraine v poslerevoliutsionnye gody" (Ethnomusicology in the Ukraine in the Post-Revolution Years), Etnografiia (Moscow-Leningrad) 1926, no. 1-2, pp. 21 1-222. In Russian. Kvitka, K. V. "Ob oblastiakh rasprostraneniia nekotorykh tipov Belorusskikh kalendarnykh i svadebnykh pesen" (On the Regions of Distribution of Cer- tain types of Belorussian Calendar and Wedding Songs), in Eval'd, Z. V., ed. Belorusskie narodnye pesni, 1941, pp. 123-129, and two pages musical examples. In Russian. Kvitka, K. V. Profesional'ni narodni spivtsi i muzykanty na Ukraini; prohrama dlia doslidu ikh diial 'nosti i pobutu (Professional Folk Singers and In- strumentalists in the Ukraine; A Program for the Study of their Activity and Life). Kiev, Ukrainian Academy, 1924. 114 pp. (Zbirnyk Istorychno- Filolohichnoho viddilu Ukrains 'koi Akademii nauk, no. 13, vyp. 2.) In Ukrainian. Lineva, E. E. Folk Songs of the Ukraine. Godfrey, Illinois, 1958. Paskhalov, V. V. "Deiatel 'nost' moskovskikh muzykantov-etnografov za poslednie 8 let" (The Activity of Moscow Ethnomusicologists during the Past Eight Years), Etnografiia (Moscow-Leningrad) 1926, no. 1-2, pp. 193-199. 50 [Piat 'desiat'] Let Pushkinskogo Doma (Fifty Years of Pushkin House). Moscow-Leningrad, Izd-vo Akademii nauk SSSR, 1956. Pushkin House is another name for the Institute of Russian Literature of the Soviet Academy of Sciences. Popova, T. V. "Folk Music Section at the Moscow Conservatory." The U.S.S.R. Society for Cultural Relations with Foreign Countries. Moscow. Musical Chronicle, No. 1-2, January-February 1946, pp. 20-22. Popova, T. V. Russkoe narodnoe muzykal 'noe tvorchestvo (Russian Folk Music). 2nd ed. Moscow, Muzgiz, 1962-1 964. 2 volumes. Rudneva, A. V. "K. V. Kvitka," in Vospominaniia o Moskovskoi Konservatorii (Moscow, Muzyka, 1966), pp. 494499. Rudneva, A. V. "Kurskie tanki'i karagody, tan6chnye i karagodnye pesni" (Kursk Dances and Round Dances and their Songs), Voprosy Muzykoznaniia, tom 11, 1956, pp. 147-190. Smirnov, B. F. Iskusstvo Vladirnirskikh rozhechnikov (The Art of the Horn Players of Vladimir). Moscow, Sovetskii kompozitor, 1959. 154 pp. 2nd ed. 1965. Sviridova, I. K. "Puteshestvie v proshloe" (Journey into the Past), Sovetskaia Muzyka 1964, No. 7, pp. 82-87. Description of the expedition to the Nekrasov Cossacks. Trudy Muzykal 'no-Etnograficheskoi Komissii.

I. Moscow 1906. (Is simultaneously Izvestiia Obshchestva Liubitelei Estest- voznaniia, Antropologii i Etnografii, tom 113.) 11. Moscow 191 1. (Izvestiia OLEAE, tom 114.) 111. Moscow 1907. On musical rhythm. (Izvestiia OLEAE, tom 115.) IV. Moscow 1913. Experimental arrangements of folk songs for voice and piano. (Izvestiia OLEAE, tom 118.)