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Specific Nature of the Existence of Adyghe Vocal Tradition: Past and Present // Philharmonica 10.7256/2453-613X.2020.1.31976 PHILHARMONICA. International Music Journal, 2020 - 1 PHILHARMONICA. International Music Journal Правильная ссылка на статью: Vishnevskaya L.A. — SPECIFIC NATURE OF THE EXISTENCE OF ADYGHE VOCAL TRADITION: PAST AND PRESENT // PHILHARMONICA. International Music Journal. – 2020. – № 1. DOI: 10.7256/2453-613X.2020.1.31976 URL: https://nbpublish.com/library_read_article.php?id=31976 SPECIFIC NATURE OF THE EXISTENCE OF ADYGHE VOCAL TRADITION: PAST AND PRESENT / Специфика бытования адыгской вокальной традиции: прошлое и настоящее Вишневская Лилия Алексеевна доктор искусствоведения профессор, кафедра теории музыки и композиции, Федеральное государственное бюджетное образовательное учреждение высшего образования "Саратовская государственная консерватория имени Л. В. Собинова" 410003, Россия, Саратовская область, г. Саратов, ул. Соколовая, 155/163, оф. 112 [email protected] Статья из рубрики "Музыкальная этнография и фольклор" DOI: 10.7256/2453-613X.2020.1.31976 Дата направления статьи автором в редакцию: 16-01-2020 Аннотация. Предметом исследования является устно-профессиональная специфика бытования адыгской певческой традиции в прошлом и настоящем. Ж изнь после жизни – так образно можно характеризовать современное состояние адыгской вокальной традиции. Опубликованные песни адыгского этноса и субэтносов (черкесов, кабардинцев, шапсугов и др.) в настоящее время являются не более чем реликтом, памятником, музыкальной летописью истории народа и объектом научного изучения. Новые условия жизни и быта народов Северного Кавказа конца XX–начала XXI века породили практику вторичного фольклора – возрождающего и на новом уровне развивающего утраченную традицию. Ярким примером возвращения традиции вокального и инструментального исполнения предстаёт творчество адыгского фольклорного ансамбля аутентичного песнопения и инструментальной музыки «Ж ъыу» (республика Адыгея, г. Майкоп). В статье используется метод компаративного изучения фольклорного (вокального и инструментального) канона адыгов в прошлом и настоящем. Данный метод выявляет сильные адаптационные резервы певческой традиции адыгов в современных условиях её бытования. Новизна исследования заключается в том, что практика и система обучения в традиционном адыгском музицировании впервые изучается на примере творчества современного исполнительского коллектива «Ж ъыу». Стремление к 57 10.7256/2453-613X.2020.1.31976 PHILHARMONICA. International Music Journal, 2020 - 1 целостному возрождению музыкальной традиции объясняет популярность этого ансамбля в разных слушательских слоях, отвечает запросу современных адыгов на возврат традиционных форм жизни, быта и культуры. Ключевые слова: а дыг и, фольклор, вокальная традиция, история, современность, институт джегуако, песнопения, инструментальная музыка, аутентика, традиционный ансамбль Vocal tradition of the Caucasus peoples is usually linked to the Georgian folk song which can be called the ‘cake’ of the Caucasus musical culture. The ancient and austere North Caucasus vocal tradition –– ‘bread’ of the Caucasus musical culture –– is less known. The current situation is predetermined by many reasons, among them insufficient (and often non-existent) promotion of singing art of the North Caucasus peoples, a huge layer of singing samples stored in radio archives and research institutes of North Caucasus Republics being unstudied, and a number of political concerns pertaining to the content of the historic singing genres. From the 18th century, authentic North Caucasus culture has been reflected in the records of the West-European and Russian travelers, and in the last third of the 19th century it attracted the attention of many Russian composers, who heard in the North Caucasus a totally different, not ‘Persian’, Orient. First of all, these are Miliy Alekseevich Balakirev and Sergey Ivanovich Taneev. Their multiple trips to the North Caucasus in the 90s of the 19th century resulted in a piano Fantasy “Islamey” by Balakirev, and the recordings of folk melodies, performed by the Balkar prince Izmail Urusbiev –– formerly one of the most famous connoisseurs of the North Caucasus folk song. There are 11 Balkar, Kabardian, and Chechen melodies recorded by Balakirev, and 20 Balkar tunes recorded by Taneev. The material collected by Taneev is distinguished by the songs’ content and genre description, by the characteristic of the folk musical instruments of the Balkars. Therefore, Taneev’s recordings are considered the first scientific publication and notation of the North Caucasus music, the particular features of which are summarized in the article “On the music of highland Tartars” [1]. This material was first published in 1947 in a collection of articles “In memory of S. I. Taneev”, and is now kept at the Memorial house of P. I. Tchaikovsky in Klin [2; 3]. Subsequently, starting from the first decades of the 20th century, the attempts to notate and study the music of Adyghes, Balkars, and Karachays were made by the Russian ethnographers and specialists in Caucasian studies G. Chursin, Dm. Rogal-Levitskiy, A. Avraamov, A. Grebnev, a Ukrainian folklore specialist M. Gaiday, who in 1924 recorded and transferred into notes 107 samples of Balkar folk music. M. Gaidai’s materials are kept at the Rylsky Institute of folklore and ethnography of the Ukrainian Academy of science (Kiev) and currently are prepared for publication in collaboration with the Gorky Institute of the Russian Academy of science (Moscow) [2, s. 25]. A Hungarian linguist W ilhelm Pröhle studied the poetic texts and grammar of the Karachay and Balkar language; he published “Karachay studies” (1909) and “Balkar studies” (1915) in Hungarian and German languages. Soviet composers evacuated to Nalchik in 1941, for whom special performances and concerts of the most famous folk musicians were arranged, highlight freshness and originality of the North Caucasus music. In the wake of their aural impressions, based on the Balkar and Kabardian melodies such musical pieces were created as S. Prokofiev’s Second string quartet, N. Myaskovsky’s Seventh string quartet and 23rd symphony-suite, A. Aleksandrov’s opera “Bela”, A. Krein’s Symphonic suite and vocal cycle “Mountainous Balkaria”, S. Feinberg’s 58 10.7256/2453-613X.2020.1.31976 PHILHARMONICA. International Music Journal, 2020 - 1 Piano Raphsody, A. Goldenweiser’s 6 songs. A folk North Caucasus song was most actively studied and published in the 50-60s of the 20th century. Adyghe, Balkar and Karachay traditions were leading here, they were captured in six volumes of the collection of “Folk songs and instrumental folk-tunes of Adyghes” and three volumes of the collection “Anthology of the folk music of Balkaria and Karachay” (at the moment, only the first volume has been published). All these works were created under the supervision of a prominent Russian folklore scientist E. Gippius. Nowadays A. I. Rakhaev, B. G. Ashkhotov, A. N. Sokolova are acknowledged as the most reputed researchers of the Adyghes’, Balkars’ and Karachays’ folk music. The specific nature of Adyghe folk song’s existence lies in the consistent oral and professional type of art peculiar to the Orient cultures and preserved in the first third of the 20th century. First of all, this is the system of teaching the art of singing in folk schools of dzheguako khase –– a council (institution) of singers and musicians. Such councils were socially structured (for example, they were national or in service with prince’s court musicians) and were distinguished by the musicians’ professional area of expertise. One of the leading researchers of the Adyghe (Circassian) dzheguako khase –– Z. Naloev –– writes that the universal character of dzheguako favorably compares to the European medieval jugglers, minstrels, wandering musicians, with the Russian saltimbancoes, Turkic akyns [4, s. 50]. Professional multifunctional character of the Adyghe performer generated the differentiation of dzheguako into creators and performers, poets, singers, instrumentalists, dancers, story- tellers, and masters of ceremonies [4]. Each of the above-mentioned ‘professions’ had a circle of duties. For example, an instrumentalist was in high demand in the space of khachesch (room for guests or friends) as a place for celebrations, house parties and banquets. Khatiyako –– a facilitator and master of ceremonies at musical performances –– gained a great prominence. In dzheguako khase special requirements were applied to the solo singer who had to know the Adyghes’ history, plots of events and song heroes, had to have a good ear, voice, memory and acting skills in performing the corypheus role in a singing ensemble. As a result, not only did the soloist fulfill the function of keeping the singing tradition, but he was also the creator and master of performance, since (according to Adyghes) he “who sings badly … is like a man who, instead of hugging a woman, beats her” [4, s. 60]. Therefore, Z. Naloev notes that “one dzheguako could not combine two or three specializations, life demanded development and enrichment of art. This lead to dzheguako groups being created with a dzhegoako-tkhamada as the leader, i.e. corypheus” [4, s. 65]. A folk educational model was formed in the depth of dzheguako khase which provided the connection between generations of folk singers and musicians, and it existed until the 20th century. In the center of this model’s structure there is the all-round musician: not only does he sing, play and dance, but he also acts and is skilled with words on the art of
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