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Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices

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Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL. I DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Olga V. Velichidna, M.A. ***** The Ohio State University 1998 Dissertation Committee: Approved by Professor Margarita Mazo, Adv iser Professor Charles Atkinson ___________ Adviser Professor Daniel Avorgbedor " School of Music UMI Number: 9822381 UMI Microform 9822381 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyrighted by Olga Velichkiiia 1998 ABSTRACT This study is an ethnomusicological description and analysis of the panpipe tradition in South Kursk province, Russia. It investigates current musical practices of panpipe playing in this region and compares them with the state of the same tradition in this region as observed by researchers half a centuiy ago. The dissertation provides an account of the history of research on Russian panpipes, starting from their first description by Guthrie ( 1795), and 19th-centur\- ethnographic observations. The most important research on Russian panpipes was conducted by Kvitka, Kulakovskii and Rudneva in the 1930s -1960s. In addition to South Kursk province, panpipes are also found in some districts of the Briansk and Kaluga provinces. Features common to the different regional traditions in Russia include the restriction of panpipe playing to women, a preference for ensemble playing with rhvthmic dovetailing between different parts, and the production of both vocal and instrumental sounds while playing panpipes. The South Kursk panpipe tradition is in decline and only a few players remain in the region, compared with hundreds of players observed by previous fieldworkers. The tendency to abandon panpipe playing in villages, however, is to some extent offset by the growing interest of the urban folklore revivalist movement in village panpipe traditions. This interest affects the situation in the villages themselves by creating new opportunities for panpipe performances such as concerts and recording sessions. The analytic parts of the dissertation include analyses of panpipe tuning, performance terminology, and musical analyses of selected panpipe performances. The analysis of players’ views on panpipes and their descriptions of panpipe performance confirm the importance of movement in the playing process. Studying the performance process from the perspective of the players’ motor behavior is central to the musical analysis. Panpipe playing is a little-known and a unique aspect of Russian traditional culture; a detailed examination of this tradition enables us to shed a new light on Russian traditional culture. At the same time, it puts Russian panpipe playing on a map of dissemination of panpipe traditions world-wide. The Russian panpipe tradition adds new dimensions to our understanding of the variety of musical and social roles that this instrument can play in a culture. Ill Dedicated to mv mother IV ACKNOWLEDGMENTS First and foremost, I would like to thank all of the people whom I encountered during my field work in various villages of Kursk province. Their acceptance of my interest and their generosity, patience, and hospitality made this study possible. I thank particularly the panpipe players who devoted so much of their time to teaching me and answering my questions. I am greatly indebted to my adviser Professor Margarita Mazo who was the first to encourage me to undertake the course of study of which this work is the culmination, and who gave me invaluable support and guidance throughout the entire process. I gratefully acknowledge the patient efforts of my readers. Professor Daniel Avorgbedor and Professor Charles Atkinson and thank them for all their constructive comments. I thank Dr. Predrag Mattejic, Curator of Hilandar Research Libraiy of The Ohio State University, and Mrs. M. A. Johnson, Assistant Curator of the same Library, for their help with Russian and Greek references to panpipes. 1 am grateful to Professor Daniel E. Collins, Department of Slavic and East European Languages and Literatures of The Ohio State University for his consultations on the linguistic aspects of the research. I wish to e.xpress my deepest appreciation to Dr. David Butler, Professor of Music Theory, School of Music of the Ohio State University for his guidance and support of my interest in the study of musical cognition. I gratefully acknowledge the help of Dr. Thomas Heck, Head of the Music and Dance Librar\’ of the Ohio State University, and Mr. Alan Green, an Assistant Head of the same libraiy in seeking sources and preparing the bibliography. I am particularly grateful to my collcagucs-researchers and fieldworkers in Russia, Professors Nina Savel’eva, Nataliia Giliarova and Viacheslav Shchurov from Moscow Conservatory, Dr. Anatolii Ivanov and Mrs. Larisa Chernova from Regional Center of Russian Folklore, Dr. Ekaterina Dorokhova, a researcher from the Folklore Committee of Russian Composers Union, and researchers from various other institutions Mr. and Mrs. Tatiana and Sergei Starostin, Dr. Tatiana Shentaliskaia, Mrs. Marina Kriukova, Mrs. Irina Novichkova, who generously shared with me their first-hand knowledge of regional panpipe traditions. I wish to thank also my pupils, who participated in the project and whose interest in learning to play panpipes inspired me to undertake this study. I am indebted to Mr. Sergei Rogosin, a dedicated researcher in the field of Russian folk instrumental music, for bringing to my attention many sources concerning the professional tradition of panpipe playing in Russia . Many organizations and institutions, both in Russia and United States, contributed to the completion of this project. I wish to thank, in particular. Professor Natalia Giliarova, Head of the Laboratory of Folk Music at Moscow Conserv ator} , and Dr. Anatolii Kargin, Director of the Regional Center of Russian Folklore, Moscow, for allowing me to work with the collections of archival materials held at their respective institutions. I am also grateful to Mrs. I. Dorokhova, Head of the printing house “Kompozitor,” Moscow (former “Sovetskii Kompozitor”) for granting me permission to use copyrighted materials. I specially thank The Ohio State University for its support throughout my graduate program, notably in the form of yearly assistonships and grants which financed my travel and research work in the summer of 1994. The numerous technical tasks required for this study (measurements, computer calculations, etc.) were carried out with the assistance of Professor Pete Tender and VI Professor Mark Ainger (Bosendorfer Laboratory of the School of Music of The Ohio State University), Eric Conrad, a graduate student in the Department of Mathematics of The Ohio State University, and especially Sergey Butkevich, also a graduate student of the same department I thank all of them for their expertise and for devoting their time to my project. Last, but not the least, I thank my husband, Frank Kane, for his editorial assistance with the preparation of the manuscript and for his generous support during the entire project and my parents for their patience and moral support. VII VITA October 13, 1963 ......................................... Bom in Moscow, Russia 1982 ............................................................... Bachelor degree in Music (Honors diploma). Music College at Moscow Conserv ator} , Moscow, Russia 1987 ................................................................Master Degree in Music (Honors diploma), Moscow Conservator}', Moscow, Russia 1987 - 1991 ..................................................Graduate student at the Academy of Sciences, music teacher
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