Musical Instrument Museum the Balalaika: a Russian Icon Designed By: Nancy Kullos and Dr

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Musical Instrument Museum The Balalaika: A Russian Icon Designed by: Nancy Kullos and Dr. Rebecca A. Cairo

Overall Lesson Goal Students will identify the iconic Russian folk instrument, the balalaika. While focusing on the balalaika, students will identify one example of how musical instruments can be seen in relation to history and culture. Students will listen with sustained attention to three musical ensemble performances of a Russian folk song, “The Birch Tree.” They will identify, describe, and analyze the characteristics of each performance that evoke a temperament or mood in a piece of music. Suggested Grade Levels: 9–12, 7–8 Gallery: Europe Culture Group: Russian Instruments: Balalaika, domra, harmoshka, gusli, childrens’ instrument collection Cocurricular Areas: Language Arts, Music, Science, Social Studies

Objectives Students will be able to: • Identify the balalaika as an iconic folk instrument of Russia. • Understand music in relation to history and culture. • Compare and analyze multiple interpretations of the same piece of music.

Arizona Music Standards

Standards in grades 9–12 are divided into 3 categories for performing ensembles: beginning, intermediate, and advanced. Therefore, sometimes the PO for all 3 levels is listed. Teachers can then choose which PO is most appropriate for their students’ abilities.

Performing Ensembles Strand 2: Relate

Concept 1: Understanding the relationships among music, the arts, and other disciplines outside the arts.

PO 202/302. Identifying/explaining how music can be transcribed from one music medium to another (e.g., one instrument to another, one ensemble to another).

Concept 2: Understanding music in relation to history and culture.

PO 102–202–302. Identifying and comparing a varied repertoire of music from diverse genres and musical styles.

Concept 3: Understanding music in relation to self and universal themes.

PO 103–203–303. Identifying /describing the various ways that music conveys universal themes (e.g., contrast, conflict, and emotion).

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Performing Ensembles Strand 3: Evaluate

Concept 1: Listening to, analyzing, and describing music PO 101–201–301. Listening to, describing, and analyzing music from various cultures and genres.

PO 106–206–306. Appropriate terminology to describe and explain music.

PO 208–308. Comparing and analyzing multiple interpretations of the same piece of music.

PO 111–211–311. Identifying/describing/analyzing the expressive qualities (e.g., dynamics, tempo, phrasing, vibrato) of music used to create different moods or feelings.

PO 112–212–312. Listening to musical examples with sustained attention.

Concept 2: Evaluating music and musical performances

PO 101–201–301. Identifying/describing/ analyzing the characteristics that evoke a temperament or mood in a piece of music.

Arizona Social Studies Standards GR: Grades 9–12 Strand 4: Geography

Concept 1: The World in Spatial Terms

PO 3. Use appropriate maps and other graphic representations to analyze geographic problems and changes over time.

Concept 2: Places and Regions

PO 1. Identify the characteristics that define a region: a. Physical processes such as climate, terrain, and resources b. Human processes such as religion, political organization, economy, and demographics

Key Vocabulary and Focus on Concepts Russia, balalaika, domra, harmoshka, gusli, organologists, folk song, the Soviet era, the former USSR, nationalism Materials Required MIM-provided MU_HS_Balalaika PowerPoint; Map of Russia; MU_HS_handouts (http://alliance.la.asu.edu/maps/FORMER~1.PDF) Musical clips – Three musical renditions of “The Birch Tree” as performed by three musical ensembles: (1) vocal solo with balalaika accompaniment, (2) girls’ chorus with piano accompaniment, and (3) the Russian Red Army Choir with folk instrument accompaniment. These are included in the MIM PowerPoint presentation. Alternatively, they are available online (see References).

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Procedures This lesson can be presented in three parts. In Part 1, students are introduced to the country of Russia, it’s current geography, demographics, and a very brief portion of its history (the years leading up to World War I until 1991). In Part 2, students visit MIM where they will view musical instruments in the Russia exhibit and explore the concept of the balalaika not only as an iconic musical instrument but also as a link between folk and classical music in the Russian tradition. In Part 3, students, as a class, will review three musical renditions of a Russian folk song, “The Birch Tree.” Students compare and contrast performance aspects while viewing three media clips. Background information for educators is included to further contextualize the historical and musical concepts developed in this lesson. Part 1: Russia Note: The MU_HS_Balalaika ppt introduces the points in each section. Share the map of Russia with students. What do they notice? (Note: If any students are émigrés from Eastern Europe, ask if they are willing to speak from their experience. If appropriate, ask a parent to speak to the class about his/her personal experience with Russian culture.) 1. Depending on interest level and time, make the following points about Russia, gleaned from the CIA World Factbook (https://www.cia.gov/library/publications/the-world- factbook/geos/rs.html). a. Russia today occupies about 6,592,700 sq mi, making it the largest country in the world. b. The largest metropolitan areas surround Moscow, the capital, and St. Petersburg. There are sixteen self-governing autonomous republics, five autonomous regions, and ten national regions. c. Russia’s population is about 139 million, and it has been estimated that about 80 percent of the population consists of ethnic Russians. d. About 73 percent of the population lives in urban areas. e. Northern Asia (the area west of the Urals is considered part of Europe), bordering the Arctic Ocean, between Europe and the north Pacific Ocean.

f. Border countries to Russia include: Azerbaijan, Belarus, China, Estonia, Finland, Georgia, Kazakhstan, North Korea, Latvia, Lithuania, Mongolia, Norway, Poland, and Ukraine. 2. Discuss the meaning of an icon (from the Greek eikon, from eikenai, meaning “to resemble”), usually a pictorial image, emblem, or symbol. A sign whose form suggests its meaning. Think of its current use on the computer screen as a graphic symbol. 3. Perhaps in art classes, students have learned about the style of painting done on a wooden board, usually of a religious subject. The word “icon” means “image.” Its purpose was to convey a message and, in some cases, to aid religious experience. Icon and art are seen in many cultures.

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4. In the cities of Moscow and St. Petersburg, among other places, you see iconic architecture found in the cathedrals. (Readily available online or see PowerPoint presentation for photos. LEFT: St. Basil’s Cathedral in Moscow. RIGHT: The Cathedral of the Resurrection of Christ in St. Petersburg.) Note the iconic architecture called “onion domes.”

In the same way that we associate the “onion domes” with Russia, we associate the balalaika with Russian folk music. What other associations do we have with Russia? Ask students to explain their associated meanings. Possible answers may include references to activities, people, places, and events.

5. We will now have a very short discussion of Russian history as seen through the lens of the balalaika (see Background Information for Educators. While this is a simplification of the complex political process, it is necessarily brief to enable the class presentation to proceed to a review of the cultural and musical role of the balalaika in Russia.) The association of the balalaika with all things Russian can be traced back to a particular period in Russian history. World historians refer to this era, prior to World War I, as the rise of nationalism. Nationalism is an intense feeling of patriotic pride for one’s homeland. Authoritarian government officials forcibly imposed a unified cultural identity to a nation made up of multiple ethnic minorities. It was during this time period that Andreyev is credited with the standardization of the balalaika instrument family. He made it easier to play and created ensembles to promote it. 6. The balalaika emerged with a uniquely Russian appearance, sound, and even a standardized technique of playing (as promoted by the government) in an effort to enforce the uniformity of culture among the population. As an instrument of the political process, the balalaika became extremely popular and soon Andreyev led tours with the Great Russian Imperial Orchestra. Balalaika, formerly an instrument of the peasants, became an instrument for serious study within the conservatory in Russia. 7. Introduce students to a photo of the balalaika. Musically, it is featured in the text of the Russian folk song, “The Birch Tree.” Play the media clip of “The Birch Tree.” Have students first observe and listen. After one playing, ask students: What musical instrument is featured? (Balalaika) How would you describe its shape? (Triangular) How many strings does the balalaika have? (Three, although sometimes there are more) The teacher can discuss the construction of the balalaika as being often made of birch or spruce—native trees found in Russia, although not as predominant in the northeastern part of Russia (i.e., Siberia). How would you describe the feeling of this piece? (Possible answers lead to an understanding that this song’s mode is minor, which some people would associate with a melancholy mood.)

8. Next, play the clip again. As you review the clip, have students tap the rhythm. Encourage students to think of word associations that derive from the musical elements of instrumentation, lyrics, tempo, dynamics, melody, and rhythm (see Handout 2). How would you describe the feeling of this piece? Lead students through a discussion that the text, which is “married” to the melody in a folk song, is key to a deeper cultural understanding of the piece. Each cultural group has its own folk songs, which are an

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expression of the text, tonality, and tempo—reflecting aspects of each group’s language and experience. At times, due to conditions attributable to migration, politics, and societal change, these cultural groups disperse. They cross geographic borders and some musical forms and sounds, over time, become associated with a country’s musical identity or “sound.”

9. Show them the text on a transparency (see Handout 1). In the case of “The Birch Tree,” the text speaks to the cultural significance of the birch, which is the “national tree” of Russia. The speaker is communicating with the life essence of the birch tree telling of their need to use the branches to create the musical instruments. This folk song was incorporated in the works of two prominent nationalistic Russian composers including Balakirev and Tchaikovsky. Balakirev’s 1858 “Overture on Russian Themes” is built on three folk songs, one of which (“In the fields stood a birch tree”) reappeared twenty years later as the chief subject in the Finale of Tchaikovsky’s “Fourth Symphony.” (For more information, see Lesson Variations.)

10. Play the clip once again. If students choose not to sing, consider having them tap the rhythm as they listen to the song again. This concludes Part 1 of the lesson.

Part 2: While at MIM

When you are at MIM, be sure to notice what materials are used to make instruments in various world regions. Generally speaking, instruments are constructed of materials culturally and materially important to each group. The same can be said for the balalaika, often crafted from birch. The birch is the national tree of Russia and is found throughout the country, although less so in the northeastern region. Also, note the other instruments in the Russia exhibit, including the domra, harmoshka, and gusli.

Part 3: Classroom Follow-up

1. Review MIM experiences. You may use the PowerPoint presentation to review previously shared information and to prepare students for the listening lesson.

2. Show pictures of various sizes of balalaikas found at MIM as well as other Russian folk instruments including the domra, harmoshka, and gusli. Looking at the balalaika, and based on what we know about instrument size in relation to musical pitch, what can you predict about its sound? What instruments do the various domra remind you of? What about the harmoshka and gusli?

3. Before proceeding with “The Birch Tree” videos, distribute Handout 2 on “Elements of Music to Consider When Evaluating a Performance.” Discuss the appropriate terminology used to describe and explain music. When this is completed, move to the task of comparing and analyzing multiple interpretations of the same piece of music. Depending on the time allocated for this assignment, choose a reporting method to assess understanding of the three versions of “The Birch Tree.” At the end of the PowerPoint is a Venn diagram that can be used to guide students in a class discussion of the musical elements. Alternatively, students could note elements directly in the handout, draw a Venn

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diagram on the reverse side of the paper, and discuss results in small groups. Used in this way, the graphic organizer could serve as a focus of small-group discussions, which can then evolve into a large group summary of the musical elements.

4. Proceed with the PowerPoint about the musical renditions of “The Birch Tree.” Listen to three musical versions of the folk song. (For Teacher’s information: First version is of a child’s solo voice with a small group accompanied by a balalaika. Second version is of a young women’s vocal ensemble presenting the same piece, with differences in language and style. Third version is a presentation of the Red Army Choir—uniformed men singing under the birch trees. The men are playing various Russian folk instruments including the balalaika, the domra, and harmoshka.)

5. Have students listen with sustained attention and/or take notes on the provided handout, depending on the instructor’s preference. A chart of musical elements is given for background information, as needed. Suggest that students note musical elements of the performance that influence the mood of the piece. A slide with a Venn diagram is included after the media clips, if the instructor wishes to facilitate a large group discussion. 6. The PowerPoint closes with more examples of Russian folk instruments found in the Russia exhibit. A photograph portrays an interesting aspect found in the Russia exhibit: Russian children’s instruments. The three instruments include a syistulka (vessel flute), a pereplocka (small zither similar to the gusli), and a harmoschka (button accordion) seen in the musical clips that accompany this lesson. Discussion: Can you draw any conclusions about the musical importance of these instruments in Russian culture? Cite evidence observed in the display. Assessment Several scenarios have been presented for assessment. You may have students share their answers in small groups and report their observations about musical elements to the large group. Or, they may complete their Venn diagram individually, to be turned in as a written assignment. Students should note that the musical elements of instrumentation, lyrics and language, tempo, dynamics, melody, and rhythm influence the musical performance. Some students may note that the setting of the performance plays a role in the mood—especially as seen in the Red Army Choir performance in the field surrounded by birch trees. Summary In this lesson, students in performance ensembles and/or secondary general music classes were introduced to the concept of an icon as a sign whose form suggests its meaning. Students have seen examples of this through architecture and music as they learned about the Russian folk instrument, the balalaika. They heard three renditions of a Russian folk song, “The Birch Tree.” They described musical elements of each performance that evoked a mood in a piece of music. While focusing on the balalaika, students saw one global example of how musical instruments can be seen in relation to history and culture. Ideas for furthering this expansive topic are provided below.

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Lesson Variations Transfer this learning about elements of a musical performance to your group. Discuss how aspects they observed might be incorporated into an upcoming performance. Can they identify the mood they want to invoke and how can this be musically accomplished? Use this lesson as a springboard activity to the study of folk song and culture. Ideas leading to this discussion might include the fact that many songs were created “communally”; an individual may have written a ballad, but as the song was passed along from individual to individual and community to community, the lyrics were adjusted to fit its new circumstances. Often, the melody changed as well. This lesson, perhaps in the setting of an instrumental ensemble class, could be expanded to include background performance information of noted Russian composers. Generally speaking, there are several who included Russian folk music in their compositions, prior to Andreyev’s introduction of the balalaika, during a period of European nationalism in the mid- nineteenth century. (This nationalistic trend in music was evident in other European countries as well.) One suggestion is the integration of this lesson’s topic as ensembles prepare for works by Mily Balakirev, Alexander Borodin, Mihail Glinka, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Pyotr Tchaikovsky. Note: Symphony no. 4, by Tchaikovsky, incorporates the Russian folk melody in this study, “The Birch Tree,” within the finale of the fourth movement. (According to the Oxford Dictionary of Music, Glinka’s work, A Life for the Tsar (1836), began the nationalist movement, which was sustained by the “The Five” or “The Mighty Handful” in later years. This lesson’s discussion of the importance of folk song in Russian culture may enhance a historical understanding of the performance. Can you apply the concepts of nationalism in music to contemporary events? Some scholars say that nationalism promotes a nostalgic sense of community. Name some recent historical events that have resulted in the revival of musical pieces reflecting national life or history. Explain this phenomenon in terms of the concepts presented in this lesson about musical nationalism. Handouts Map of Russia Handout 1: Lyrics of the Russian Folk Song “The Birch Tree,” as performed by vocal ensemble Handout 2: Elements of Music to Consider When Evaluating a Performance Video Clips of Song Performances (embedded within MIM-provided PowerPoint available on MIM’s website) References “Balalaika” Grove Music Online. Oxford Music Online. Accessed August 20, 2010. Billington, James H. “The Face of Russia.” PBS video series aired on June 1998. http://www.pbs.org/weta/faceofrussia/intro.html. Accessed August 20, 2010.

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Birmingham Children’s (Una Vocé) Choir. “The Birch Tree.” YouTube video. . http://www.youtube.com/watch?v=ECDichGwpgc. Accessed July 27, 2010. Central Intelligence Agency. “Russia.” In The World Factbook. Last modified August 19, 2010. https://www.cia.gov/library/publications/the-world-factbook/geos/rs.html. Accessed August 21, 2010. Russian Red Army Choir. “The Birch Tree.” YouTube video, 3:07. Posted by “lmj22,” September 10, 2008. http://www.youtube.com/watch?v=SKC4M0dQ8AE. Accessed July 27, 2010. Stites, Richard. Russian Popular Culture: Entertainment and Society since 1900. Cambridge: Cambridge University Press, 1992.

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HS_MU_Balalaika_Handout HS_MU_Birch_Tree_Lyrics

See the lovely birch in the meadow. Curly leaves all dancing when the wind blows. Loo-lee-loo when the wind blows, Loo-lee-loo when the wind blows.

Vs.2 Oh, my little tree I need branches, for three silver flutes I need three branches. Loo-lee-loo three branches, Loo-lee-loo three branches.

Vs. 3 From another branch I will make now, I will make a tingling balalaika, Loo-lee-loo balalaika, Loo-lee-loo balalaika.

Vs. 4 When I play my new balalaika, I will think of you, my lovely birch tree. Loo-lee-loo lovely birch tree, Loo-lee-loo lovely birch tree.

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HS_MU_Balalaika_handout2: Elements of Music to Consider When Evaluating a Performance (to be used with Venn diagram provided on PowerPoint)

The combination of instruments used by musicians who play a certain style of music, i.e., a common instrumentation in a modern gospel choir is organ, piano, electric bass, drums, and vocals. The instruments that normally play the melody and take solos are often referred to as the lead Instrumentation instruments. The underlying rhythm and chord instruments are often called backup instruments. Instrumentation can be used to identify a certain musical style. By listening to the timbre and tone color of individual instruments and ensembles, we can also compare and contrast traditional musical styles.

Each language has its own rhythms, which contribute to how music sounds. The lyrics often tell stories; language (e.g., English, French, Lyrics or Vietnamese) tells us about the culture and the way people choose to Language communicate with members of their folk groups. The rhythm of the melody is often determined by the rhythm of the words. Periods of sound or silence in a melody are influenced by lyrics and language.

The speed of the beat. Tempo guides how fast the piece of music will be played and is often constant throughout a piece of music. The tempo is Tempo usually set by the group leader or drummer and maintained by everyone in the ensemble. Tempo is one element of music that can be used to enhance the expressive qualities of music.

The degree of intensity (sound quality and expressiveness) and loudness. Dynamics often change within a piece of music. Musicians use dynamics to Dynamics enhance the expressive qualities of music and get the desired response from the listener. The deliberate use of silent intervals is also an important component of dynamics.

The pattern of pitches and rhythm that creates a tune or song. In folk Melody music styles, the lead instrument or vocalist most often plays the melody. Others often play or sing complementary lines or chords called harmony.

The metered pattern of notes. In a single piece of music, there may be many different rhythmic patterns. Rhythm seems similar to tempo, but tempo generally remains constant throughout a selection while rhythm Rhythm may change within a piece of music. Rhythm deals with the steady beat of the music, usually moving in groups of two or three and how patterns of notes vary in relation to the steady beat, as in syncopation.

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Background Information for Educators The Russian balalaika is perhaps the most well-known Russian musical instrument. Constructed of spruce or birch (Russia’s national tree), the balalaika is a three-sided and, typically, three-stringed chordophone. According to organologists, or musical instrument specialists, the balalaika’s predecessor is the early two- or three-stringed lute widespread among the late nineteenth-century Russian peasantry as a solo instrument or a dance accompaniment.

Vasily Andreyev (1861–1918), a Russian nobleman and violinist, is associated with the balalaika’s rise to prominence. Andreyev’s work in late nineteenth-century Russia may be seen as following the onset of a nationalistic movement that swept across Europe prior to World War I. Nationalism is an intense feeling of patriotic pride for one’s homeland. Andreyev assisted the instrument makers who developed the balalaika in a range of sizes with standardized tunings during the 1880s. The balalaika expanded to an entire family of instruments, with a range of seven different registers. From the highest pitched to the lowest, these balalaikas include: the prima, the second, the alto, the bass, and the contrabass/double bass. Subsequent innovation resulted in a new musical ensemble: a giant balalaika orchestra. Public concerts of the orchestra, discussed below, increased the exposure of the balalaika within Russia and abroad.

The Great Russian Imperial Orchestra, founded in 1897 with Andreyev as conductor, subsequently included other Russian folk instruments such as the domra, gusli, svirl, and zhaleika. This large ensemble, composed of both peasants and professionals, toured Russia, the rest of Europe, and beyond from 1912 to 1918, bringing an eclectic mix of folk music to a wider audience. Andreyev enjoyed phenomenal success with audiences, leading performances of lushly harmonized folk tunes in lavish settings. Government-sponsored performances of Russian folk music bolstered patriotism, building national pride in a country populated with diverse ethnic groups. Soon, balalaika orchestras came to symbolize the Soviet Union, whose centralized government promoted them in all the republics. Andreyev was both celebrated and criticized for this work.

Due to Andreyev’s efforts, the balalaika, a folk instrument, was introduced into the orchestra and thereby became a serious instrument for study, leading to further refinements, playing techniques, and musical repertoire. Russian composer Tchaikovsky composed instrumentation for the balalaika, and “The Birch Tree” folk song is found within one of his orchestral compositions. An immense musical repertoire exists for the balalaika today.

While Andreyev was credited for bringing “folk music” to the masses and folk-like music to the conservatory, his efforts were condemned by some. Political commentators, especially the right wing, despised the cultural exaltation of the peasant ethos. Members of the cultural elite detested the rendering of the classics on “primitive village instruments.” They disparaged the standardization of Russian culture, which had long been exalted in the conservatory model that often promoted the Westernized performance canon and musical ensembles.

Artistic outcomes of this conflict remain in play today. Partially inspired by Andreyev’s example, balalaika orchestras sprung up in other parts of the world, many composed of Russian émigrés. The popularization of Russian musical and material culture is evidenced by the existence of modern-day balalaika orchestras. There are currently more than ten balalaika orchestras in the United States, one of which is based in Tucson, Arizona. Now a Russian icon, the balalaika exemplifies a case in which history and culture can be examined through the study of a folk musical instrument.